L E G E N D


Wednesday, July 30, 2008

STEVE AND JOHN HACKETT - (2000) SKETCHES OF SATIE


STEVE AND JOHN HACKETT - (2000) SKETCHES OF SATIE


Studio Album, released in 2000

Another excellent offering, this time from the Hackett brothers. Their interpretations of classical composer Erik Satie are subtle, atmospheric and interesting. Twenty tracks here, but none are very long, and I won't go into individual pieces, as they all blend and meld together exquisitely to make one satisfying whole. It is John who takes the lead on most of the pieces, his flute work delicate and considered. Steve backs him wonderfully, remaining in the background for the most part, his guitar providing the soundscapes and counterpoints to the flighty, almost fairy-like flute parts. This record is just another example of Steve's and John's diversity and wonderful ability to make superb music, whether it be original compositions or distinctive interpretations of some of their major influences. A must have for fans of both Hacketts. This album is especially effective when listened to in the dark, or semi-dark on winter nights. Beautiful. Four stars, even though the music isn't mainstream.

Track Listings

01. Gnossienne No. 3 (2:24)
02. Gnossienne No. 2 (1:56)
03. Gnossienne No. 1 (3:18)
04. Gymnopédie No. 3 (2:36)
05. Gymnopédie No. 2 (2:52)
06. Gymnopédie No. 1 (3:55)
07. Pièces Froides No. 1 Airs À Faire Fuir I (2:46)
08. Pièces Froides No. 1 Airs À Faire Fuir II (1:36)
09. Pièces Froides No. 2 (2:05)
10. Avant Dernières Pensées Idylle ÀDebussy (0:57)
11. Avant Dernières Pensées Aubade À Paul Dukas (1:11)
12. Avant Dernières Pensées Méditation À Albert Roussel (0:54)
13. Gnossienne No. 4 (2:41)
14. Gnossienne No. 5 (3:20)
15. Gnossienne No. 6 (1:41)
16. Nocturnes No. 1 (3:31)
17. Nocturnes No. 2 (2:14)
18. Nocturnes No. 3 (3:36)
19. Nocturnes No. 4 (2:49)
20. Nocturnes No. 5 (2:27)

Total Time: 46:49
Line-up/Musicians

- Steve Hackett / guitar
- John Hackett / flute

Steve Hackett - (2006) Wild Orchids

Steve Hackett - (2006) Wild Orchids

Studio Album, released in 2006

Track Listings

Standard Edition (CAMCD38):
1. A Dark Night In Toytown (3:42)
2. Waters Of The Wild (5.35)
3. Set Your Compass (3:38)
4. Down Street (7:34)
5. A Girl Called Linda (4:44)
6. To A Close (4:49)
7. Ego & Id (4:08)
8. Man In The Long Black Coat (5:07)
9. Wolfwork (4:49)
10. Why (0:47)
11. She Moves In Memories (5:00)
12. The Fundamentals Of Brainwashing (3:01)
13. Howl (4:31)

Total Time: 57:25

Special Edition (CAMCD38SE):
1. Transylvanian Express (3:44)
2. Waters Of The Wild (5:35)
3. Set Your Compass (3:38)
4. Down Street (7:34)
5. A Girl Called Linda (4:44)
6. Blue Child (4:25)
7. To A Close (4:49)
8. Ego & Id (4:08)
9. Man In The Long Black Coat (5:07)
10. Cedars Of Lebanon (4:02)
11. Wolfwork (4:49)
12. Why (0:47)
13. She Moves In Memories (5:00)
14. The Fundamentals Of Brainwashing (3:01)
15. Howl (4:31)
16. A Dark Night In Toytown (3:42)
17. Until The Last Butterfly (2:29)

Total Time: 72:05
Line-up/Musicians

- Steven Hackett / guitars, electric sitar, harmonica, psaltery, optigan & voices
- Roger King / keyboards & programming, rhythm guitar
- John Hackett / principal flute & riff guitar
- Rob Townsend / saxes, principal flute, Alto flute, tin whistle & bass clarinet
- Nick Magnus / keyboards

The Underworld Orchestra:
- Christine Townsend / principal violin, viola
- Richard Stewart / cello
- Dick Driver / double bass
- Colin Clague / trumpet
- Chris Redgate / oboe, cor Anglais

Steve Hackett - (2003) To Watch the Storms

Steve Hackett - (2003) To Watch the Storms

Studio Album, released in 2003

Track Listings

1. Strutton Ground (3:03)
2. Circus Of Becoming (3:47)
3. The Devil Is An Englishman (4:26)
4. Frozen Statues (2:57)
5. Mechanical Bride (6:38)
6. Wind, Sand And Stars (5:06)
7. Brand New (4:39)
8. This World (5:17)
9. Rebecca (4:18)
10. The Silk Road (5:23)
11. Come Away (0:57)
12. The Moon Under Water (5:22)
13. Serpentine Song (5:48)

Bonus tracks on Special Edition:
14. Pollution B (3:11)
15. Fire Island (2:12)
16. Marijuana, Assassin Of Youth (6:50)
17. If You Only Knew (6:25)

Total Time: 74:18
Line-up/Musicians

- Steve Hackett / vocals, guitar
- Roger King / keyboards
- Rob Townsend / brass, woodwind
- Terry Gregory / basses, vocals
- Gary O’Toole / drums, vocals
- John Hackett / flute (13)
- Ian McDonald / saxophone (7)

Guests:
- Jeanne Downs / backing vocals
- Sarah Wilson / cello
- Howard Gott / violin

Steve Hackett - (2002) The Genesis Files

Steve Hackett - (2002) The Genesis Files

Boxset/Compilation, released in 2002

2CD Genesis Files = Genesis Revisited + tracks from other Hackett albums, as stated in the track list. There is nothing older than two pieces from '83 acoustic guitar album Bay of Kings (except 'Horizons' from it appeared originally in Foxtrot, and 'Steppes' from Tokyo Tapes live album in Defector '80). Each song is served with liner notes and thus clearing the 'Genesis' concept also in tracks that at first seem to have nothing to do with it. To be honest, some don't. Two instrumental tracks from '99 Darktown? As well or better could have been some (new versions perhaps) from earliest solo albums that are closer in style to Genesis. But this kind of limited compiling principle suits well. The sense of compilation is almost absent if you haven't heard all the source albums. It's principally just an extended version of "Watcher of the Skies - Genesis Revisited" (96) and it works as that. ...Sorry such lecturing: call it The Premiere Review Syndrome.

Genesis revisitations were made with a large amount of guests. John Wetton in 'Firth of Fifth' and 'Watcher of the Skies', wow! Colin Bluntstone's tender 'For Absent Friends' accompanied by the Royal Philharmonic is dangerously close to oversweetness. 'Your Own Special Way' as a Rutherford tune has Paul Carrack from Mike+Mechanics, and I must say the nature of the song fits better to that polished style than to Wind & Wuthering. 'Fountain of Salmacis' sung by Steve is a good example how he manages to add new excitement even to such dramatic classics. It's almost TOO full. 'Waiting Room Only' is an atonal curiosity based on the Lamb track. The Tokyo concert with a superb all-stars lineup seems really great.

Here and there this music feels a bit overproduced & highly strung, and makes me miss the more peaceful side of Hackett's music. But worth getting if you missed Genesis Revisited.

Track Listings

Disc 1
1. Firth Of Fith (Genesis Revisited)
2. Watcher Of The Skies (Genesis Revisited)
3. Riding The Colossus (Genesis Revisited (Jap. Ed.))
4. Rise Again (Darktown)
5. Valley Of Kings (Genesis Revisited)
6. Time Lapse At Milton Keynes (Bay Of Kings)
7. Your Own Special Way (Genesis Revisited)
8. The Fountain Of Salmacis (Genesis Revisited)
9. For Absent Friends (Genesis Revisited)
10. Twice Around The Sun (Darktown)

Disc 2:
1. Horizons (Bay Of Kings)
2. Prizefighters (Feedback '86)
3. Camino Royale (The Tokyo Tapes)
4. I Know What I Like (Genesis Revisited)
5. Deja Vu (Genesis Revisited)
6. Waiting Room Only (Genesis Revisited)
7. Dance On A Volcano (Genesis Revisited)
8. The Steppes (The Tokyo Tapes)
9. In That Quiet Earth (The Tokyo Tapes)
10. Los Endos (The Tokyo Tapes)


Line-up/Musicians:

- John Wetton / bass, vocals
- Bill Bruford / drums
- Ben Fenner / keyboards, programming
- Tony Levin / bass
- Julian Colbeck / keyboards
- Hugo Degenhardt / drums
- Doug Sinclair / bass
- Roger King / programming, keyboards, virtual drums
- Aron Friedman / keyboards, piano
- Billy Budis / bass
- Nick Magnus / keyboards, programming
- Jerry Peal / keyboards, programming
- Paul Carrack / vocals
- Chester Thompson / drums
- Alphonso Johnson / bass
- John Hackett / flute
- Colin Blunstone / vocals
- Bonnie Tyler / vocals
- Chris Thompson / vocals
- Terry Pack / bass
- Ian McDonald / flute, keyboards
- Pino Palladino / bass
- Will Bates / saxophone
- The Royal Philharmonic Orchestra

Steve Hackett - (2000) FEEDBACK 86

STEVE HACKETT - (2000) FEEDBACK 86

Studio Album, released in 2000

Without a question the music of Steve HACKETT has been a personal love of mine for many years now and although much less "Progressive" than other works still carries some wonderful instrumentation and HACKETT'esque moments. "Feedback '86" is a long lost album recorded back in '86 during the GTR era which never saw the light of day. "Feddback 86" carries some real nifty content like the tune "Cassandra" which features Ian Mosely and Pete Trewavas (MARILLION), "Prizefighters" - a slower version than played live druing the GTR tour (written by Steve HOWE and Steve HACKETT) which is sung by Bonnie Tyler. Throughout lead vocals are handled by Chris Thompson (MANFRED MANN) and of course Mr HACKETT. Brian May (QUEEN) also stops by for an electric duo with Steve in a strange little tune called "Slot Machine". Overall this a quirky album with some marvellous instrumentation granted more in the straight forward rock vein, but I really like it...

Track Listings

1. Cassandra (4:07)
2. Prizefighters (5:13)
3. Slot Machine (4:23)
4. Stadiums of the Damned (4:42)
5. Don't Fall (4:25)
6. Oh How I Love You (3:58)
7. Notre Dame des Fleurs (3:11)
8. The Gulf (7:21)

Total Time: 37:20

Line-up/Musicians

- Steve Hackett / guitar, vocals, harmonica
- Chris Thomson / lead vocals on 1,2,3,5 and 6
- Brian May / guitar on 1 and 3
- Pete Trewavas / bass on 1
- Ian Mosely / drums on 1
- Nick Magnus / keyboard, virtual drums, piano
- Bonnie Tyler / lead vocals on 2
- Terry Pack / bass on 2

Steve Hackett - (1998 UK) The Tokyo Tapes

Steve Hackett - (1998 UK) The Tokyo Tapes

Hackett, Genesis and Crimson in ASIA sound

Having conducted a progressive rock workshop An Appreciation for GENESIS last week down here at Jakarta, Indonesia – I don’t know for some reason my attention then went on to Steve Hackett. For me personally, Hackett is a brilliant musician and composer, who was a very key member of Genesis. During the workshop, I played “Please Don’t Touch” tune just to indicate to the prog audience who participated actively at Mario’s Place (the workshop venue) that this tune has a strong historic value for Hackett, I believe. It’s because this song was originally approved by the band during the recording of “Wind and Wuthering” album but … at the later stage it was dropped by Phil Collins. So then … we all knew that Hackett left the band right after the release of Wind Wuthering and completing the tour which was recorded under “Seconds Out” live double album.

Hackett’s composition is for me so unique and he has explored his musical talent not limited to just rock but he also adventured into a blues, jazz and a bit of avant-garde music. Have you listened to “Mechanical Bride” (To Watch The Storm) or “Dark Town” (album title track)? You will find his interpretation of avant-garde music in these tracks.

This live album “Tokyo Tapes” has been with me since it was released and by then when I got it, I was not so impressed with this record. The main reason was being the fact that the sound is not like typical nuance of Hackett album. It’s totally different with “Voyage of The Acolyte” or “Spectral Mornings” or “Defector”. Something strange for me and I did not pay further attention with this record until recently. I try to spin many more times and forget about the Hackett nuance at all. It helps a lot because by doing so I do not need to expect anything on the sounds of this music at all. What I got was a totally different experience: the overall live album sounds like an ASIA album. It’s probably on John Wetton’s singing style which reminds me to his tenure with ASIA and not with King Crimson at all. So I call that this is like the music of Steve Hackett, King Crimson, and Genesis are being played with ASIA nuance. That’s what I feel.

Why liking this album?

Different Sound. Oh yes, this was actually the thing that turned me down to further explored this album – because the sound was not exactly what I expected with Steve Hackett. I thought that this album should not be titled under Steve Hackett solo album because I did not find the “soul” of Hackett music in here. Time went by and by the time I switch my mind by releasing any expectation at all from Steve Hackett, I then can easily enjoy the music this album offers. Even from the start of the album with “Watcher Of The Skies” (8:59) I can sense how this legendary track by Genesis is being played with modern keyboard sound of Julian Colbeck. Even when “Riding The Colossus” (3:32) is being played I can sense different sound than the “Genesis Revisited” album. This also happens beautifully with “Shadow of the Hierophant” (7:14) which offers different nuance under this version.

Music Experimentation. This thing happens wonderfully – to my ears – for tracks with great insertion of avant-garde style. This happens, for example – with “Firth Of Fifth” (9:32) . In a nutshell I don’t like this version until I find its beauty during interlude where this collaboration of genius musicians produce avant-garde style. I think Ian McDonald’s role in this nuance is very critical. This also happens with “Los Endos” where so far I has considered that the version of “Genesis Revisited” album is the best one but now I think this live version is also great. I especially like when Ian McDonald plays his inventive sax work. It’s great!

Collaborative Effort of Great Musicians. This is a live performance of great musicians from legendary bands like Genesis, Asia, King Crimson, Asia and even Frank Zappa. You can find ASIA track “Heat of The Moment” as well as King Crimson “The Court of The Crimson King” and “I Talk To The Wind”. All of them are performed combining the strengths of each individual musician from other bands. It’s very enjoyable to listen to Hackett’s guitar interpretation of Robert Fripp’s (King Crimson) unique guitar playing. Chester Thompson is Genesis’ drum player during tour, so he should be familiar with some Genesis tracks. For my taste, I do not actually enjoy his style of playing at this album. John Wetton plays like how he played with Asia and not in such a way represents his style with King Crimson (at all!). “Battlelines” (6:43) is the best example of Asia sound.

Why (you are) NOT liking this album?

Newbie. If you are newbie to prog or to any of Hackett, Genesis, King Crimson, or Asia music, I do not recommend you to have this album directly. It’s too risky for you if you have not listened to the studio albums before. But of course this is not a 100% guarantee because actually you might still have some holes on how to best enjoy this album. For newbie in prog, you should listen to the studio albums of Steve Hackett, Genesis and King Crimson prior to listening to this album.

Don’t want improvisation. well, I understand that some people are so peculiar on maintaining the originality of composition and don’t want to listen to any improvisation from its original version. If you are this kind of people, it’s gonna be very hard for you to enjoy this album.

Conclusion

I consider this album, overall, is an excellent addition to any prog music collection. I experience it myself that since couple of days ago I keep listening to this album many spins already. On other thing, I also like the insertion of some Genesis parts like “Cuckoo Caccoon” or “Blood on Rooftops” guitar shots in “Black Light”. This also happens with some improvisation on “Los Endos”. All of this sum up into one excellent album that any prog head should have. Keep on proggin’ ..!

Peace on earth and mercy mild – GW

CD 1:
1. Watcher Of The Skies
2. Riding The Colossus
3. Firth Of Fifth
4. Battlelines
5. Camino Royale
6. The Court Of The Crimson King
7. Horizons
8. Walking Away From Rainbows
9. Heat Of The Moment

CD 2:
1. In that quiet earth
2. Vampyre with a healty appetite
3. I talk to the wind
4. Shadow of the hierophant
5. Los Endos
6. Black Light
7. The Steppes
8. I know what I like
9. Firewall (studio track)
10. The Dealer (studio rack)

Line-up/Musicians

- Steve Hackett / guitar, harmonica, vocals
- John Wetton / bass, guitar, vocals
- Ian McDonald / flute, sax, guitar, keyboards, vocals
- Chester Thompson /drums
- Julian Colbeck / keyboards, vocals

Firewall / The Dealer:
- Steve Hackett / guitar, percussion
- Iron Friedman / keyboards, programming


Steve Hackett - (1994) BLUES WITH A FEELING

STEVE HACKETT - (1994) BLUES WITH A FEELING

Studio Album, released in 1994

This is another good example of Steve's wonderful diversity. Of course, he started out as a blues harmonica player, and he proves he knows his roots here. No, this isn't the deep down and dirty blues of the American south, nor is it the English blues of the sixties. It is modern day Hackett blues, and excellent stuff at that. 'Born In Chicago' is a cover song, and quite a fast paced one. The trademark Hackett guitar sound is present here, as on all tracks, so you can still tell it's Steve, yet this time in a blues setting. 'The Stumble' is an instrumental, and a fastish one at that. 'Love Of Another Kind' is a typical Hackett track, with good harmonies. 'Way Down South' is a gentle, subtle song, with again nice harmonies on the chorus. 'A Blue Part Of Town' is truly wonderful. Soulful harmonica playing over Colbeck's restrained keyboards, it is a bitter-sweet instrumental, slow and melodic. One of the highlights. 'Footloose' raises the tempo again, another good instrumental. 'Tombstone Roller' is mid paced, and has a sharp guitar led ending, with good drumming here and some high pitched notes from Steve. 'Blues With A Feeling' is a calm, mid paced song, with understated guitar playing, the most verse led song on here. 'Big Dallas Sky', as others have commented, is almost a blues epic! Another highlight, it has lovely keyboard soundscapes, overlaid with classic Hackett guitar notes, seemingly picked out of thin air. 'The 13th Floor' is another instrumental, again set at a mid to fastish pace. 'So Many Roads' has good vocals from Steve, with more atmospheric guitar in the background. A very strong song. Finally, 'Solid Ground' is a mid pace track with aggressive vocals and a strong fading ending. The harmonica is present on a few tracks here, and is well played. I would like to hear, one day, an album of harmonica playing from Steve. It would be different, and would showcase another of his talents. A strong album, recommended for Hackett fans, modern blues fans, harmonica fans, and, of course, guitar fans in general. Another four star effort.

Track Listings

1. Born In Chicago (3:57)
2. The Stumble (2:55)
3. Love Of Another Kind (3:59)
4. Way Down South (4:28)
5. A Blue Part Of Town (3:03)
6. Footloose (2:30)
7. Tombstone Roller (5:17)
8. Blues With A Feeling (4:22)
9. Big Dallas Sky (4:47)
10. The 13th Floor (3:29)
11. So Many Roads (3:15)
12. Solid Ground (4:27)

Total Time: 46:30
Line-up/Musicians

- Steve Hackett / vocal, guitar & harmonica
- Julian Colbeck / keyboards
- Doug Sinclair / bass guitar
- Hugo Degenhardt / drums

Guests:
- Dave "Taif" Ball / bass guitar on "Way Down South" & "Love of Another Kind"
- Jerry Peal / organ on "Love of Another Kind"
- The Kew Horns "Footloose", "Tombstone Roller" & "Blues With A Feeling"
- Matt Dunkley / trumpet
- John Lee / trumpet
- Pete Long / Tenor sax
- John Chapman / Baritone sax

Steve Hackett - (1992) UNAUTHORISED BIOGRAPHY

STEVE HACKETT - (1992) UNAUTHORISED BIOGRAPHY


Boxset/Compilation, released in 1992

This compilation wraps up some of Hacketts most well known peices including his dangerously fast fret work on Slogans and the wonderfully eerie The Steppes.However as with many collections the tracks just don't gel together.I also find that many of the songs here are just not to my liking.I would much prefer a 100% instrumental compilation album from this great guitarist.

Track Listings

01. Narnia
02. Hackett To Pieces
03. Don't Fall Away From Me
04. Spectral Mornings
05. The Steppes
06. The Virgin & The Gipsy
07. The Air-Conditioned Nightmare
08. Cell 151 Slogans
09. Icarus Ascending
10. Prayers And Dreams
12. Star Of Sirius
13. Hammer In The Sand
14. Ace Of Wands
15. Hoping Love Will Last

Line-up/Musicians:
- Steve Hackett / acoustic guitar, keyboard strings
- Various other musicians
- Brian May / guitar and backing vocals on "Don't Fall Away From Me"

Steve Hackett - (1984) Till We Have Faces


Steve Hackett - (1984) Till We Have Faces

Studio Album, released in 1984


As I've lately refreshed my relationship with Hackett's music with many surprisingly fine albums, it is strange to think he has done an album of this low quality. Hackett is not at home at all in this commercial effort. Guests include a group of Brazilian musicians and Ian Mosley (who joined Marillion that year). I had this LP some 17 years ago and the only song that I liked was 'Taking the Easy Way Out'; it's the only one with a glimpse of that certain Hackett beauty, even if it's a bit too sweet ballad. 'Let Me Count the Ways' tries to be a nice blues ballad but sounds too lifeless to be that. Most songs are horribly bad. I dare say (after hearing most of his albums) that this is definitely his worst ever. I give this only one star, but all in all I rate Hackett VERY high as a guitarist and a composer. Everybody fails sometimes.

Track Listings:
1. Duel (4:50)
2. Matilda Smith-Williams Home For The Aged (8:04)
3. Let Me Count The Ways (6:06)
4. A Doll That's Made In Japan (3:57)
5. Myopia (2:56)
6. What's My Name (7:05)
7. The Rio Connection (3:24)
8. Taking The Easy Way Out (3:49)
9. When You Wish Upon A Star (0:51)

Total time: 41:02

Tracklist of Inside Out CD re-issue (2002):

1. What's My Name (7:04)
2. The Rio Connection (3:19)
3. Matilda Smith-Williams Home For The Aged (8:04)
4. Let Me Count The Ways (6:05)
5. A Doll That's Made In Japan (3:56)
6. Duel (4:48)
7. Myopia (2:54)
8. Taking The Easy Way Out (3:48)
9. The Gulf (6:30)
10. Stadiums Of The Damned (4:37)
11. When You Wish Upon A Star (0:48)

Total Time: 52:00
Line-up/Musicians

- Steve Hackett / guitar, guitar synthesizers, Koto, Rainstick, Etruscam guitar, marimba, percussion, harmonica, vocals
- Nick Magnus / keyboards, percussion, Yamaha DX7, Jupiter 6, Juno 60, Moog source, Jupiter 8, Memory Moog, Emulator, Vocoder and Linndrum
- Rui Motta / drums, Simmons drums
- Serginho (Roupa Nova) / drums
- Ian Mosley / drums, percussion
- Waldermar Falcao / flute, percussion
- Fernando Moura / Rhodes
- Ronaldo Diamante / bass
- Clive Stevens / Wind synthetizer
- Kim Poor / Japanese voice on "Doll"
- The Brazilians Percussionist: Sidinho Moreira, Junior, Jaburu, Peninha, Zizinho, Baca

Steve Hackett - (1982) HIGHLY STRUNG

STEVE HACKETT - (1982) HIGHLY STRUNG

Studio Album, released in 1982

After the severe disappointment that was Cured, Steve Hackett went back to the drawing board and came back with this vast improvement. Although it doesn't compare to the efforts before Cured, it certainly has its own strengths and weaknesses. Now there are a few differences in the lineup of this album from the lineup of the last album is this: Ian Mosley (of future Marillion fame) plays drums, unlike the sequenced and programmed drums of the last album and John Hackett is absent. Other than that, the core lineup of Hackett and Magnus remains. What you'll find on this album is a mixture of arena rock with some more experimental overtones, some great instrumental bits, and some great guitar stylings (as usual with Hackett).

The album opens with the rollicking Camino Royale, which from the opening seconds you can already hear the improvement over Cured. The drumming on this track is quick, complex, and intricate, with expansive and high energy guitar and some nicely paced keyboards. The entire song itself is better than essentially anything on Cured. Cell 151 is nothing but arena rock, complete with cheesy overblown vocals and a main beat that doesn't really go anywhere and doesn't really evolve. There's some good soloing, though, and a snippet reprisal of the main motif to Camino Royale. Always Somewhere Else is an instrumental piece that makes good use of the 7/8 time signature. Ian Mosley is incredible on this track, with fast paced and incredibly intricate drumming. Hackett is also incredible on this track with a breathtaking solo. Walking Through Walls is another extremely arena rock rooted song, with generic drumming and some dated keyboards, as well as some over the top vocals from Hackett (who has improved immensely since Cured).

Give it Away continues the arena rock feel, but I quite like the rhythm and the vocals on this track. It's very upbeat, and Hackett's guitar is great. Weightless yet again continues the same trend as the rest of the album, sounding similar to Walking Through Walls, although the drumming is more dynamic on this track. Group Therapy has some great bass and drum interplay as well as some intuitive Hackett soloing. Nick Magnus and Hackett also have a great keyboard/guitar duel in the middle, with some great soloing from Magnus. Some creative alternating 12/8 then 11/8 riffing comes in towards the end and really gives the song a great final kick. India Rubber Man is a gentle piano led piece that has some nice mutli layered Hackett vocals and some very somber orchestrations in the background. Hackett to Pieces has become a synonymous instrumental piece with Steve Hackett (which would often find a place in his medley). It begins with a reprisal of the Camino Royale main riff, but then becomes a wailing guitar piece that really ends the album on a high note (literally).

Track Listings

Side 1
1. Camino royale (5:25)
2. Cell 151 (3:30)
3. Always Somewhere Else (3:57)
4. Walking Through Walls (3:45)

Side 2
5. Give it away (4:05)
6. Weightless (3:25)
7. Group Therapy (5:40)
8. India Rubber Man (2:30)
9. Hackett To Pieces (2:35)

Total Time: 34:52

Song 2 recorded Feb 1982, songs 1, 3-4 recorded May 1982, song 7 recorded august 1982 and songs 5-6, 8-9 recorded Oct/Nov 1982.
Line-up/Musicians

- Steve Hackett / guitar, vocals
- Nick Magnus / keyboards & devices
- Ian Mosley / drums
- Nigel Warren-Green / cello
- Chris Lawrence / contrabass

Steve Hackett - (1981) Time Laps Live

Steve Hackett - (1981) Time Laps Live

Time Lapse is the tenth solo album by guitarist Steve Hackett, and his first live album. The album is drawn from live performances at the Savoy Theater in New York City (during the Cured tour) and at Central TV Studios in Nottingham.
Tracks 1-5, 13 & 14 recorded at Central TV Studios, Nottingham, October 1990.
Tracks 6-12 recorded at the Savoy Theater, New York, November 1981.
Produced by Steve Hackett and Billy Budis.

It opens with the classic 'Camino Royale', played here flawlessy and at a superb tempo. Its complicated structure holds no fear for the band or its leader, and this epitomises the entire album. The musicians, as always with Hackett, are all top notch, and it's especially nice to see two excellent drummers, Fudge Smith and Ian Moseley, from Pendragon and Marillion respectively, providing the backbone and rhythm to some excellent playing. 'Please Don't Touch' is another wonderful live piece, and this is followed by one of Hackett's best songs, the brilliant 'Everyday', 'In That Quiet Earth' is another seemingly effortless brilliancy, bringing back to the listener all those wonderful Genesis-inspired days of the seventies, whilst 'Depth-Charge' is, yet again, memorable; a wonderful mid- paced instrumental. Two favourites from the Defector album follow, the upbeat and sunny sounding 'Jacuzzi' and the sombre and majestic 'The Steppes', each of them powerfully played and well recorded. John's flute always adds something special to both his brother's and his own work. 'Ace Of Wands' is another live gem, and this is followed by 'Hope I Don't Wake'. 'The Red Flower Of Tachai' is just as atmospheric live as it is on record. Only the first part of 'Tigermoth' is played here. 'A Tower Struck Down' has all the drama and dynamics of the original, being one of Steve's heavier pieces. 'Spectral Mornings' is as wonderful as it always has been, with superlative playing from Steve and the band. Finally, 'Clocks' ends the record in fine style. He is one of the few musicians who can cut the mustard both in the studio and live. For those wishing to explore his material, this would serve as a good introduction to his earlier work.

Track Listings

01. Camino Royale (Highly Strong) (8:42)
02. Please Don't Touch (Please...) (4:38)
03. Everyday (Spectral Mornings) (7:00)
04. In That Quiet Earth (3:50)
05. Depth Charge (3:22)
06. Jacuzzi (Defector) (4:28)
07. The Steppes (Defector) (5:57)
08. Ace Of Wands (Voyage..) (7:34)
09. Hope I Don't Wake (Cured) (4:14)
10. The Red Flower Of Tachai Blooms Everywhere (Spectral Mornings) (2:43)
11. Tigermoth (Spectral Mornings) (3:22)
12. A Tower Struck Down (Voyage...) (2:58)
13. Spectral Mornings (Spectral Mornings) (5:19)
14. Clocks-The Angel of Mons (Spectral Mornings)(4:55)

Total Time: 67:29

Line-up/Musicians

- Steve Hackett / guitar, vocals
- John Hackett / flute, guitar, bass, pedals

In Nottingham, with:
- Ian Ellis / bass, vocals
- Julian Colbeck / keyboard, vocals
- Fudge Smith / drums
In New-York, with:
- Chas Cronk / bass, vocals
- Nick Magnus / keyboards
- Ian Mosley / drums

*Includes full cover and booklet scan*

Steve Hackett - (1980) DEFECTOR

STEVE HACKETT - (1980) DEFECTOR

Studio Album, released in 1980

It is always illadvised to think the loss of an individual isn't felt in a band, or that the deficit will be easily filled and unnoticed in the material. The reverse is also true; to assume a single musician's own work, reaching out with a more internal vision, will be less accomplished is frequently proven wrong. Often liberating, these solo projects can be a much more personal and intimate expression of an artist and for 'Defector', Steve Hackett demonstrates this with the same quiet expertise he brought to Genesis. The album suffers at times from an early 80s techno-box quality that cheapens the sound (including a few flirtations with outright disco), but mostly this is one of Hackett's better albums and it fixes a hole where the rain gets in.

Steve Hackett had been making solo records since 1975, so regardless of his tenure with his 'other' band, it was nothing new. And though both 'Voyage of the Acolyte' and 'Spectral Mornings' are first-rate sessions, 'Defector' is a touch more clear-headed and concise in its vision, and no less ambitious. 'The Steppes' opens on a soothing flute, rumbling awake with Dik Cadbury's bass and a most pleasing melody of layered guitars from our host, expanding over a grand landscape. 'Time to Get Out' tastes of later Genesis with springy arpeggios, bright pop appeal and a countrified solo, abruptly pushed aside by the militant 'Slogans' which features a hornet's nest of guitar pyrotechnics and Hackett's sense of restraint and musicality. Highly prog and full of movement, it seamlessly transitions to the sweet-sounding 'Leaving', a reflective vocal harmonic. The master's nylon-strings are showcased in the delicate 'Two Vamps as Guests', and 'Jacuzzi' is prime Hackett, handling the synths as well as guitars for some great symphonic rock that could easily be mistaken for Genesis circa 1973. 'Hammer in the Sand' is a tearful lament on piano, 'The Toast' is slow, drunken sentiment which becomes a salute to Erik Satie and refreshes the soul with its simple beauty. 'The Show' curbs this even flow with a cold dance beat and funky bass sounding like a play for radio appeal, and the hilarious 'Sentimental Institution' creaks with 1930s Americana, Victrola atmosphere and early jazz crooning.

Though bumpy at times and giving a sense of a work unfinished , 'Defector' was one of the best prog offerings of 1980 and proves why Hackett's absence in his former band was deeply felt. Very nice.

Track Listings

Side 1
1. The Steppes (6:04)
2. Time to get Out (4:11)
3. Slogans (3:42)
4. Leaving (3:18)
5. Two Vamps As guests (1:58)
Side 2
6. Jacuzzi (4:35)
7. Hammer in The Sand (3:09)
8. The Toast (3:41)
9. The Show (3:40)
10. Sentimental Institution (2:32)

Total Time: 36:50
Line-up/Musicians

- Steve Hackett / guitar, vocal, Optigan, Roland GR 500
- Nick Magnus / keyboards
- John Hackett / concert and Alto flute
- Pete Hicks / vocal
- John Shearer / drums & percussion
- Dik Cadbury / bass, vocal

Steve Hackett - (1979) SPECTRAL MORNING


STEVE HACKETT - (1979) SPECTRAL MORNING

Studio Album, released in 1979

By this time, our guitar master has confirmed his strong standing as solo musician. His departure from Genesis two years before had really paid-off especially after the success of second album “Please Don’t Touch!”. In one year time, he released “Spectral Morning” which I consider as masterpiece. It offers different style of music and combines in its best possible sounds that he even would not make it possible if he was still with Genesis. A good example is track 5 “The Ballad Of The Decomposing Man (Featuring - The Office Party)” that I don’t think would fit into Genesis format (at that time). And I think this album is much better than Genesis’ “..And Then There Were Three”. From this perspective, it can be concluded easily that Steve Hackett is better as solo musician than being a member of Genesis. And now you can compare: he himself can overrule the sum of three gentlemen from Genesis! So, who actually ruled Genesis??? It’s a fallacy if people compare the music of Genesis between Gabriel and Collins era. The right question is: with or without Hackett? Because without Gabriel but still with Hackett Genesis released two excellent albums “Wind and Wuthering” and “A Trick of The Tail”.

Also, the music of “Spectral Morning” is much more mature compared to its two predecessor albums. It progressed in a very positive direction. Bravo, Mr. Hackett! My best memorable track that has become an all-time favorite is the album opener “Everyday”. At first spin, I was disappointed where it had a poppy and straight forward beats. But when Hackett finishes with all lyrical verses and the music brings me to instrumental part at the long ending part, it BLEW me away! I love the solo guitaring – so marvelous! When I could not afford to buy a CD, I had only a cassette version and I kept rewinding this long ending many times without any feeling of getting bored at all. Even, when I watched the live version in laser disc format under “Time Lapse” album this track was the only one that I repeated viewing. Top notch! The album continues with acoustic-guitar-based song “The Virgin and the Gypsy” – very interesting track.

The classic and legendary “The Red Flower of Tachai Blooms Everywhere” is another song worthy for enjoyment. It’s something that Steve would not possible composing it under Genesis umbrella, I think. It’s a traditional-based music with eastern / chinese influence. It’s really a great track to enjoy. This track cannot be separated with the next one “Clocks (The Angel Of Mons)”. It’s a hard driving track with Genesis music style. “Lost Time In Cordoba” is a song with a heavy influence of classical music, exploring acoustic guitar and flute. This track has inspired, in certain way, Arena’ “Cry for Help” series in Songs from Lions Cage album. The album is concluded with two wonderfully crafted tracks: “Tigermoth” and “Spectral Mornings”.

In summary, I can tolerate you for missing the first two albums from Steve Hackett. But for this third one? Oh no …, you MUST have it! It’s terrific. Keep on proggin’ …! JRENG!

Progressively yours, GW

”Can you light a fire in Winter’s face? Or say why a life has gone to waste? Pleasure Island was on overcrowded place.” - “Everyday” by Steve Hackett.

Track Listings

1. Every Day (6:14)
2. The Virgin and the Gypsy (4:28)
3. The Red Flower of Tachai Blooms Everywhere (2:05)
4. Clocks (The Angel Of Mons) (4:16)
5. The Ballad Of The Decomposing Man (Featuring - The Office Party) (3:48)
6. Lost Time In Cordoba (4:03)
7. Tigermoth (7:35)
8. Spectral Mornings (6:32)

Total Time: 39:01
Line-up/Musicians

- Steve Hackett / vocal, guitars, Roland guitar synth, koto, harmonica
- Dik Cadbury / bass, vocal, bass pedals, violin
- John Hackett / flutes, bass pedals
- Pete Hicks / vocal
- Nick Magnus / keyboards, Vox string thing, Novotron, harpsichord, clavinet, RMI, Fender Rhodes, mini moog, Roland string synth, SH 2000
- John Shearer / drums, percussion

Steve Hackett - (1978) VOYAGE OF THE ACOLYTE

STEVE HACKETT - (1978) VOYAGE OF THE ACOLYTE

Studio Album, released in 1975

No real point in annointing this immense talent and huge guitar innovator any further , I still remember rewiring my jaw (after picking it up off the concert floor) subsequent to Genesis' show in Montreal in 1974. "A flower?" blooming amazing guitar display that was. This debut album is still justly viewed as a glowing icon of melancholia-infused progressive rock. With most of his Genesis bandmates on board, Hackett is in obviously comfortable surroundings and hence, positively shines throughout the tracks , effusively flowing guitar forays searching for new tonal horizons , dazzling atmospheres wonderfully coloured by the ubiquitous mellotron cascades, rivers of liquid flute runs and an occasional stream of vibrant cello. The supporting cast does well to further enhance the fragile delicacy of the arrangements , namely the pulsating Rutherford Rickenbaker combining deftly with the marvelous Collins drumming (they were a very underrated rythm section ), a burping Percy Jones fretless bass cameo and the glimmering voice courtesy of Sally Oldfiled . The tracks have been already dissected by my esteemed colleagues, so I will reserve my comments to the closer, where the disc spirals effortlessly into the upper reaches of nirvana (no, not the band) , an unmitigated classic that easily rivals or even surpasses any prime Genesis tune, proving conclusively that Steve's departure was the final progressive moment in Genesis' existence. The next chapters of their history has only further confirmed the obvious. Tied with Spectral Mornings but a slightly more precious overall package (Beautiful cover to boot). 5 stars, with "no reply at all".

Track Listings

1. Ace Of Wands (5:23)
2. Hands of the Priestess Part I (3:28)
3. A Tower Struck Down (4:53)
4. Hands of the Priestess Part II (1:31)
5. The Hermit (4:49)
6. Star of Sirius (7:08)
7. The Lovers (1:50)
8. Shadow of the Hierophant (11:44)

Total Time: 40:52

Line-up/Musicians

- Steve Hackett / electric & acoustic guitar, Mellotron, harmonium, bells, autoharp, vocal, effects
- John Hackett / flute, Arp synthetizer, bells
- Mike Rutherford / bass guitar, bass pedals, Fuzz 12-String
- Phil Collins / drums, vibes, percussion, vocals
- John Acock / Elka, Rhapsody, Mellotron, harmonium, piano
- Sally Oldfield / vocal
- Robin Miller / oboe, cor Anglais
- Nigel Warren-Green / solo cello
- Percy Jones / extra bass on "Tower"
- Johnny Gustafson / bass on "Star"
- Steve Tobin / parrot and cough

Steve Hackett - (1978) PLEASE DON`T TOUCH

STEVE HACKETT - (1978) PLEASE DON`T TOUCH

Studio Album, released in 1978

#78: 1978. The first Hackett album I heard - perhaps in '87 - and definitely among the favourites. The other song sung by Steve Walsh (Kansas), 'Racing in A', is the only track I don't like, but 'Narnia' is a great opener full of energy and fairytale delight, and probably helped me to find Kansas too. Some say that Richie Havens and Randy Crawford are out of place guesting on a prog album - NOT AT ALL! Mrs Crawford's emotional 'Hoping Love Will Last' is a wonderful example how entertainment vocal music and prog can be brought together. Very beautiful. Havens' bluesy voice fits surprisingly well into Hackett's sound. More guest singers that fine and various on your later albums too, please!

Like most Hacketts, a good deal is instrumentals, but as always, full of drama and colour. 'The Voice of Necam' refers to a computer, and also some sounds of entertainment park's machines and crowd are heard. This must be the most dramatic and exciting of his albums; it rushes into very many directions but does not quite yet suffer from it. 'Carry On Up The Vicarage' is a hilarious tribute to Agatha Christie detective stories, and the treated vocals (by Steve) add nicely to the peculiar feel. 'Kim' is a serene Satie-like piece with flute and guitar. Even with a short length (38:38) and one unpleasant song I can reward this with 5*.

Track Listings

1. Narnia (4:06)
2. Carry On Up the Vicarage (3:11)
3. Racing In A (5:07)
4. Kim (2:14)
5. How Can I? (4:40)
6. Hoping Love Will Last (4:09)
7. Land of a Thousand Autumns (1:57)
8. Please Don't Touch (3:39)
9. The Voice of Necam (3:11)
10. Icarus Ascending (6:21)

Total Time: 38:38
Line-up/Musicians

- Steve Hackett / guitars, vocals, keyboards, percussion

WITH:
- John Hackett / flutes, piccolos, bass pedals, keyboards
- Steve Walsh / vocals
- Richie Havens / vocals, percussion
- Randy Crawford / vocals
- Dave LeBolt / keyboards
- John Acock / keyboards
- Tom Fowler / bass
- Chester Thompson / drums, percussion
- Phil Ehart / drums, percussion
- James Bradley / percussion
- Graham Smith / violin
- Hugh Malloy / cello

Tuesday, July 29, 2008

Tony Banks - (1992) STILL


TONY BANKS - (1992) STILL

Studio Album, released in 1992

This is really no further along the curve than "Bankstatement". As for the positive praise that well-meaning souls have laid at the foot of "Still", they’ve simply set the bar too low. True, it’s a professional affair, engaging the services of FISH, Nik Kershaw, Andy Taylor and a returning Jayney Klimek on vocals, but I don’t hear where this edges out something like Phil Manzanera’s Southern Cross on the road to respectability.

If you’re looking for BANKS to write pop songs with a certain amount of emotional soul wringing akin to the late ‘80s, then here you go. Not that the GENESIS keyboardist doesn’t have the right to solicit the same audience as Mike + The Mechanics, but he can do so much more. The second half of “Another Murder of a Day” or even the classy ballad “Still It Takes Me By Surprise” are the sort of payoffs I expected, not FISH lamely stating “You’re just a devil with a pretty angel face” (from “Angel Face”). The vocalists are all good (even BANKS acquits himself on “Hero For An Hour”), but like Steve HACKETT’s "Please Don’t Touch" the rotating cast breeds an air of arbitrariness. There are no instrumentals, which is sort of a shame, and no new ground is broken.

The inclusion of FISH will no doubt intrigue many, but honestly they only click at the end of “Another Murder of a Day” (easily the album’s highlight). The rest of the material is merely competent pop music with hints of GENESIS’ grandiloquence (a scent of “The Cinema Show” wafts through “Still It Takes Me By Surprise”) and nods to BANKS’ earlier work (“Hero For An Hour” does recall “And The Wheels Keep Turning”). Maybe I’m foolish to expect Tony BANKS to return to prog’s green pastures, since his solo work has never leaned to the left side of GENESIS. If I view "Still" as a further straying into commercial blandness, blame it on my intractable allegiance to earlier ideals that were left by the wayside with the ‘80s.

Track Listings

1. Red Day On Blue Street (5:48)
2. Angel Face (5:16)
3. The Gift (3:56)
4. Still It Takes Me By Surprise (6:25)
5. Hero For An Hour (4:52)
6. I Wanna Change The Score (4:31)
7. Water Out Of Wine (4:37)
8. Another Murder Of A Day (9:02)
9. Back To Back (4:30)
10. The Final Curtain (4:55)

Total Time: 54:06

Line-up/Musicians

- Tony Banks / keyboards (all), bass synthesizer (1,3,5,9,10), drums programming (2,3,7), vocals (5)
- Nick Kershaw / vocals (1,6,10)
- Daryl Stuermer / guitars
- Vinnie Colaiuta / drums (1,5,8,9,10), Hi-Hat (3), cymbals (3)
- Luis Jardim / percussion (1,5,6,7,8)
- Martin Robertson / saxophones (1,5)
- Fish / vocals (2,8)
- Jayney Klimek / backing vocals (2), vocal (7,9)
- Pino Palladino / bass (2,4,7,8,10)
- Andy Taylor / vocal (3,4)
- James Heller / bass (6)
- Graham Broad / drums (6)
- Nick Davis / drum programming (7)

Tony Banks - (1979) A Curious Feeling




Studio Album, released in 1979

Track Listings

1. From The Undertow (2:46)
2. Lucky Me (4:26)
3. The Lie (4:58)
4. After The Lie (4:49)
5. A Curious Feeling (3:58)
6. Forever Morning (6:02)
7. You (6:28)
8. Somebody Else's Dream (7:50)
9. The Waters Of Lethe (6:31)
10. For A While (3:38)
11. In The Dark (2:58)

Total Time: 54:24
Line-up/Musicians

- Kim Beacon / vocals
- Chester Thompson / drums, percussion
- Tony Banks / keyboards, guitars, basses, percussion

Phil Collins - Live & Loose In Paris

Phil Collins - Live & Loose In Paris

1. Hand in Hand
2. Hang in Long Enough
3. Don't Lose My Number
4. Another Day in Paradise
5. Against All Odds (Take a Look at Me Now)
6. Lorenzo, Separate Lives
7.Seperate Lives
8. Long Long Way to Go
9. In the Air Tonight
10. Timbantiocha
11. Easy Lover
12. Dance into the Light
13. Wear My Hat
14. Something Happened on the Way to Heaven
15. Sussudio
16. End

Phil Collins - (1989) But Seriously

Phil Collins - (1989) "But Seriously"

Tracklist:
01. Hang In Long Enough
02. That's Just The Way It Is
03. Do You Remember
04. Something Happened On The Way To Heaven
05. Colours
06. I Wish It Would Rain Down
07. Another Day In Paradise
08. Heat On The Street
09. All Of My Life
10. Saturday Night And Sunday Morning
11. Father To Son
12. Find A Way To My Heart

Phil Collins - (1982) Hello, I Must Be Going!





By
Daniel J. Hamlow (Chikusei City, Japan) - See all my reviews
(TOP 100 REVIEWER) (REAL NAME)
Another Genesis album, Abacab, was followed a year later by another Phil Collins solo album. Hello, I Must Be Going was a clear indication of the Earth, Wind, & Fire type soul-pop that would yield the Grammy-winning No Jacket Required. For the most part, gone were the "weird" songs like "In The Air Tonight" or the cover of "Tomorrow Never Knows." His note-for-note cover of the Supremes' "You Can't Hurry Love," which went to #10, is ample evidence of the pop/soul direction that would hit pay dirt later on. It's still infectious and has its place in the 80's, a decade and a half before the original hit #1. The closest thing to "In The Air Tonight," with the airy synths, is "Thru These Walls," of how loneliness feeds upon the need to listen with a glass to the wall or stare out at the window at goings on, where a genuine need to touch someone isn't an option in the cold world. Next up is the disgust and apathy of being ridiculed and having one's name dragged in the dirt of "I Don't Care Anymore," which made it to #39. However, there was none of the haunting eeriness which made "Air" a hit. The slow "Do You Know Do You Care" has a droning synth and guitars, with Collins' vocals overlaid on that airy soundscape. It sounds more like later day Genesis, come to think of it. The third single, the upbeat "I Cannot Believe It's True," only made it to #79 despite the snazzy horns. This is puzzling given how similar-sounding singles by him shot to the Top Ten in later years. The Phenix Horns, his brass band, gives this song, and others like "It Don't Matter To Me" quite the kick. Two piano ballads are "Don't Let Him Steal Your Heart Away," which gains a bit of momentum with his steady drumming, the strings matching the pounded piano chords, and the sad but tender "Why Can't It Wait Till Morning," which is Phil on piano, the strings, and nothing else. Another singleworthy song and one of my favourites here. Collins was also at the producer's helm this time, with assistance from Hugh Padgham, the brains behind Face Value and the Police's Synchronicity, and would continue with him in his Grammy-winning triumph. And Daryl Steurmer, whose snarling guitar would be most noticeable in "Don't Lose My Number," has guitar chores here. Whereas Face Value showed many sides of Collins, this is basically a prelude to the hit that No Jacket Required would become. Maybe call this No Vest Required? Yet one can't help but think that Collins' solo success also fed upon the success of his group. Following this, Genesis would gain their first Top Ten hit with "That's All," and during that time, Collins would pave the way to superstardom with a few non-album hits and some big events. So, goodbye, I must be going.

Tracklist:
01. I Don't Care Anymore
02. I Cannot Believe It's True
03. Like China
04. Do You Know, Do You Care?
05. You Can't Hurry Love
06. It Don't Matter To Me
07. Thru These Walls
08. Don't Let Him Steel Your Heart Away
09. The West Side
10. Why Can't It Wait 'Til Morning



Brand X - (1996) Live At The Roxy L.A


Brand X - (1996) Live At The Roxy L.A.

Live, released in 1996

Track Listings

1. Disco Suicide -> Algon (14:14)
2. Dance of the Illegal Aliens (11:56)
3. Don't Make Waves (6:16)
4. Malaga Virgen (13:34)
5. ...And So to F... (12:24)
6. Nuclear Burn (12:02)

Total Time: 73:26
Line-up/Musicians

- Phil Collins / drums, percussions, vocals
- John Goodsall / guitars
- Percy Jones / bass
- Robin Lumley / keyboards, vocals
- Peter Robinson / keyboards

Mike Rutherford - (1982) Acting Very Strange


Mike Rutherford - (1982) Acting Very Strange

Studio Album, released in 1982

Track Listings

1. Acting very strange (4:52)
2. A Day to Remember (5:04)
3. Maxine (4:30)
4. Halfway there (4:30)
5. Who's fooling Who (4:45)
6. Couldn't Get Arrested (4:09)
7. I don't Wanna Know (4:36)
8. Hideaway (5:57)

Total Time: 38:23

Line-up/Musicians

- Mike Rutherford / vocals, acoustic & electric guitars, bass, keyboards
+ John Alexander / guitars
- Gary Barnacle / saxophone
- Stuart Copeland / drums
- Paul Fishman / keyboards
- Peter Phipps / Linn electronic drums
- Peter Robinson / keyboards
- Daryl Stuermer / guitars
- Luke Tunney / trumpet

Mike Rutherford - (1980) Smallcreep's Day


Mike Rutherford - (1980) Smallcreep's Day

Studio Album, released in 1980

Before venturing off into Popland , leading his way too clean Mechanics and the once great Genesis to dizzying commercial success, Rutherford used his Rickenbakers wisely on the Anthony Phillips debut "The Geese and the Ghost" and on this, his first solo album. Thankfully, we have these testaments to treasure , this one in particular is a fine collection especially at a time (1980) when Prog was being brutally assassinated by the Lester Bangs and assorted British punk-journalists (none of whom had talent musically or in penmanship!) of the world, imposing their rather poor taste in music and forcing Prog's extended but temporary hibernation (Video killed the radio star but punk didn't kill the Progster!).While no record executive was looking, Rutherford was free to delve into the musical adaptation of a book by Currell Brown , enlisting his good friend (and ours too) Anthony Phillips to chair the keys , as well as another famed Phillips :drummer extraordinaire Simon (no relation to the Ant), as well as one of the best movers and shakers in percussionist Morris Pert . The vocals are well piped by former String Driven Thing Noel McCalla and guitars and basses handled by the leader. The main treasure here is the long suite dedicated to the routine gloom of the hopeless blue collar worker , a stellar brew of sweeping symphonics straight out of the "Winds and Wuthering" song book , ending conclusivey on the painfully majestic"End of the Day" , owner of a melodic hook that would startle the daylights out of Peter Pan! Don't be fooled by Rutherford's future quest for stardom, this is prime prog that deserves eternal recognition.While perhaps not a monument, the context makes this an essential document. 4.5 meek inheritors

Track Listings

1. Moonshine (6:23)
2. Time and time again (4:52)
3. Romani (5:25)
4. Every road (4:13)
5. Overnight job (5:43)
6. Smallcreep's day (24:38)
... I) Between the tick and the tock 3:59
... II) Working in line 3:06
... III) After hours 1:46
... IV) Cats and rats (in this neighbourhood) 4:49
... V) Smallcreep alone 1:33
... VI) Out into the daylight 3:49
... VII) At the end of the day 5:36

Total Time: 51:14
Line-up/Musicians

- Mike Rutherford / guitars & basses

With:
- Noel McCalla / lead vocals
- Morris Pert / percussion
- Ant Phillips / keyboards
- Simon Phillips / drums

Mike & The Mechanics - (1988) The Living Years


Mike & The Mechanics - (1988) "The Living Years"

Tracklist:
01. Nobody's Perfect
02. The Living Years
03. Seeing is Believing
04. Nobody Knows
05. Poor Boy Down
06. Blame
07. Don't
08. Black & Blue
09. Beautiful Day
10. Why Me?

Mike & The Mechanics - (1985) Mike+The Mechanics

Mike & The Mechanics - (1985) Mike & The Mechanics

01 - Silent Running [06:15]
02 - All I Need is a Miracle [04:11]
03 - Par Avion [03:36]
04 - Hanging by a Thread [04:42]
05 - I Get The Feeling [04:31]
06 - Take The Reins [04:18]
07 - You Are The One [03:46]
08 - A Call to Arms [04:42]
09 - Taken In [04:18]

ANTHONY PHILLIPS & HARRY WILLIAMSON - (1995) Gypsy Suite

ANTHONY PHILLIPS & HARRY WILLIAMSON - (1995) Gypsy Suite

"Very good album, if you like his earlier work, you will love this. written in the 70`s, recorded in the 70/80/90`s .....acoustic and very gentle! Harry Williamson is present on this one (the guy who worked with Daevid Allen and Gilly Smith ,and Mother Gong).This is it! prime Anthony Phillips. Buy it now, or die!
review by tomerikloe - www.progarchives.com"

Track Listings:
Gypsy Suite (recorded March 1978):
1. Movement I: First Light (7:58)
2. Movement II: Siesta (5:08)
3. Movement III: Evening Circle (5:41)
4. Movement IV: The Crystal Ball (9:59)
Tarka (Movement I recorded May 1975, Movement II recorded April 1976):
5. Movement I: The Early Years (8:41)
6. Movement II: (a) Streams River And Salmon Hunting (6:38)
7. Movement II: (b) Dunes & Estuary (6:34)
8. Movement II: (c) Moonfield - Postscript (1:10)
All tracks composed by Anthony Phillips and Harry Williamson
Total Time: 51:49

Line-up/Musicians:
- Anthony Phillips / 6 & 12 string guitars, organ, piano, synths, percussion
- Harry Williamson / 6 string guitar, bass, echoes, piano, percussion, autoharp, glissando

site oficial: http://www.anthonyphillips.co.uk/

ANTHONY PHILLIPS - (1990) Slow Dance

ANTHONY PHILLIPS - (1990) Slow Dance

"Anthony PHILLIPS was one of the original founding members of GENESIS featuring Peter GABRIEL, Tony BANKS, and Michael RUTHERFORD. Following "Trespass", GENESIS' second album, PHILLIPS left (purportedly due to stage fright) and was replaced by Steve HACKETT. Nothing was heard again from Anthony until 1977, when he favored us with his first solo, "The Geese and the Ghost", although PHILLIPS wasn't the first member of the band to release a solo album (that honor goes to Steve HACKETT, by releasing "Voyage of the Acolyte", in 1975). A more commercial audience was courted on "Wise After The Event" and "Sides", to no avail, and PHILLIPS spent much of his time releasing instrumental pieces (both old and new) under the "Private Parts & Pieces" series. Steeped in classical, pre-Baroque, and folk influences, he was able to record entire albums featuring only his acoustic instrument. He is one of the world's masters on the twelve string guitar and piano compositions that hark back to GENESIS' original lost innocence. His studio recordings reveal a distinctive character to his compositions on those instruments as well.Some of his albums are more "progessive" than others, especially "Sides" (INTERESTING CD), "Private Parts and Pieces II" (A MUST! for fans of early GENESIS), "PP&P IX", and "Wise After the Event" (A MASTERPIECE); others are more "classical" in style like "PP&P III", "PP&P V", "PP&P VI" or "poppy" like "Invisible Men" and a few tracks on "Sides". Anthony PHILLIPS' 1977 debut album is one of the best works, but all of them are excellent. This album (1977) by Ant is my second favorite PHILLIPS album after "Wise After the Event". Even more its a jewel for every Rock collection, but in its own particular genre (a mix of those quiet moments of "Trespass" of GENESIS+the medieval folkprog style by GRYPHON). As you well have gathered, "Anthology" (1995) is an album that has a compilation of tracks from his solo career. This album is the perfect introduction to the world of Anthony PHILLIPS.
review by Progarchives.com, the ultimate progressive rock music website"


BELÍSSIMO!
Track Listings:
1. Slow dance (part 1) (24:01)
2. Slow dance (part 2) (26:27)
Total Time: 50:28

Line-up/Musicians:
- Anthony Phillips / synthesizers, acoustic, classic & electric guitars, fretless bass, drum machine, sequencer
+ Julie Allis / harp
- Michael Cox / flute, piccolo
- Ian Hardwick / oboe
- Tjborn Holtmark / trumpet
- Frank Ricotti / percussion, off spin
Strings conducted by John Owen-Edwards, leader / Gavin Wright Speachi quartet on the "Harp" section conducted by Sir Ralph Bernascone - Martin Robertson / clarinet - Ian Thomas / drums

Anthony Phillips - (1988) Tarka

Anthony Phillips - (1988) Tarka

Studio Album, released in 1988

Track Listings

1. Movement 1 (11:24)
2. Movement 2 (15:43)*
3. Movement 3 (15:23)
4. The anthem (6:24)

Total Time: 48:54

* On the Blueprint release, there is an additional track on movement 2 entitled "The Rising Spring" making the time of the song (16:20) and the cd (49:31).
Line-up/Musicians

- Anthony Phillips / acoustic guitars, keyboards
+ Harry Williamson / acoustic guitars, keyboards
- Julie Allis / harp
- Andrew Anscombe / French horn
- Lindsay Cooper / bassoon
- Nick Cox / clarinet, bass clarinet
- Janet Crouch / cello
- Guy Evans / percussion
- Anne Glover / oboe
- Ian Hardwick / oboe
- Didier Malherbe / flute, piccolo, soprano sax
- Ann Morfee / violin
- Krysia Osostowicz / violin
- Dave Sawyer / percussion

The National Philharmonic Orch. conducted by Jeremy Gilbert.

Anthony Phillips - (1977) The Geese And The Ghost

Anthony Phillips - (1977) The Geese And The Ghost

Studio Album, released in 1977

ANTHONY PHILLIPS was little more than a footnote to the great career of GENESIS; that is until he released "The Geese & The Ghost" in 1977. Blending orchestral and acoustic instruments, PHILLIPS' debut album had a grace and grandeur unseen since the days of "Trespass" and "Nursery Cryme". Featuring the participation of MIKE RUTHERFORD, PHIL COLLINS (on vocals), JOHN HACKETT, JACK LANCASTER and others, it was ANTHONY's money shot, and he made it pay off in a big way by delivering the best music of his life. In a sense, ANTHONY has become a victim of his own success, since subsequent albums have fallen invariably short of "Geese"'s goals, but that's a discussion for another day. If you enjoyed the pastoral prog rock of early GENESIS, more wonders await you. There is, for example, the story of "Henry: Portraits of Tudor Times", in which the players from the Age of Chivalry walk again. There are songs featuring PHIL COLLINS ("Which Way The Wind Blows", "God If I Saw Her Now") that match "More Fool Me" for beauty. There is the stirring title track, "The Geese And The Ghost", with its gentle agility sure to delight GENESIS fans who thought the realms of magic lost to the late '70s. To put this into perspective, there are only a handful of albums to my mind that will delight core followers the way "The Geese & The Ghost" does. For GENESIS followers, Voyage of the Acolyte becomes the reference point (though that was a deliberately darker work). For YES fans, JON ANDERSON's Olias of Sunhillow or RICK WAKEMAN's "Six Wives of Henry VIII" yield as much pleasure. Some of "Geese"'s credit must go to MIKE RUTHERFORD as well, who appears alongside PHILLIPS throughout and shares his affection for acoustic adornment. In a sense, "Geese" also stands as RUTHERFORD's best solo album outside of GENESIS. Listening to this album in "Spring or Summer", when the scent of a world in bloom wafts gently through the window screens, is to be in concert with life itself. If you don't own this yet and have played "Foxtrot" down to nubby grooves, do yourself a favor and grab this golden goose.

Track Listings

1. Wind-tales (1:02)
2. Which way the wind blows (5:51)
3. Henry; portraits from Tudor times: (12:11)
i) Fanfare 0:56
ii) Lute's chorus 2:00
iii) Misty battlements 1:15
iv) Henry goes to war 3:36
v) Death of a knight 2:33
vi) Triumphant return 1:46
4. God if I saw her now (4:09)
5. Chinese mushroom cloud (0:46)
6. The geese and the ghost: (15:40)
Part one 8:01 - Part two 7:39
7. Collections (3:07)
8. Sleepfall: the geese fly West (4:33)

Bonus track on Virgin release:
9. Master of time (7:37)

Total Time: 54:56
Line-up/Musicians

- Anthony Phillips / acoustic, classic & electric guitars, basses, dulcimer guitar, bouzouki, piano, organ, synthesizers, Mellotron, harmonium, celeste, pin piano, drums, glockenspiel, bells & chimes, timbales, gong, vocals (7)

+ Phil Collins / vocals (2-4)
- Ronnie Gunn / harmonium (9)
- John Hackett / flutes
- Nick Hayley & Friend / violins
- Jack Lancaster / flutes, Lyricon
- Charlie Martin / cello
- Viv McAuliffe / vocals (4)
- Lazo Momulovich / oboes, Cor Anglais
- Tom Newman / hecklephone, bulk eraser
- Rob Phillips / oboes
- Michael Rutheford / acoustic, classic & electric guitars, basses, organ, drums, timbales, bells, glockenspiel, cymbals
- Wil Sleath / flutes, recorders, piccolo
- David Thomsa / classical guitar (9)
- Kirk Trevor / cello
- Martin Westlake / tympani

Send Barns Orchestra conducted by Jeremy Gilbert.
- Ralph Bernascone / soloist