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Steve Hackett

WhiteWinter

3/5

“Second album acoustique de Steve, qui a porté le malheur de faire suite au génial “Bay of kings”, de se retrouver isolé dans une période de non-production pour Steve (entre GTR, 1986 et Time lapse live, 1992) et en plus d’avoir été plus ou moins oublié.

L’ensemble est toujours très agréable à écouter, mais peu de morceaux se détachent du lot. Il n’y a pas cette diversité que l’on retrouvait jusque dans le son de la guitare sur “Bay of kings”.

En revanche, la flûte et le mellotron sont présents, même si sur deux morceaux seulement : “Cavalcanti” et “Concert for Munich”, vraiment magnifiques, et incontestablement deux grandes pièces parmi les principales de l’ensemble.

Notons aussi quelques jolis thèmes de çi de là comme “Portrait of a brazilian lady” (encore un hommage à la belle Kim), “Last rites of innocence”, “A bed, a chair and a guitar”, “The sleeping sea”…

On trouve aussi une certaine ambiance feutrée propre à tous les albums acoustiques du “Maître”.

Mais on sent qu’il manque quelque chose à cet opus, comme un aboutissement, et d’ailleurs Steve n’en jouera que très peu en concert par la suite…”

Tracklist

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Infos générales

Sorti en 1988

Steve Hackett : guitare classique et mellotron (Stepp DGI)
John Hackett : flûte (1, 6)

Produit par Steve Hackett et John Acock

octopus92

3/5

“Enregistré en 1986 après l’aventure du super-groupe GTR avec Steve Howe, cet album est resté 15 ans dans les tiroirs avant d’être publié par Camino, le label de Steve.

Malgré la présence d’invités prestigieux (Brian May de Queen, Bonnie Tyler, Chris Thompson de Manfred Mann), il souffre du syndrome de cette époque pour Steve : une hésitation douteuse entre une musique calibrée pour la radio et des morceaux plus courageux et inventifs.

Les deux titres bonus également présents sur la réédition de “Till we have faces” démontrent toute l’ambiguïté liée à cet album.”

Tracklist

Give me a sign if you know about the future
Tell me the reason why you look oh so sad
Somewhere in time another premonition
Or is it a memory of what happened in the past

Cassandra, when we cry
Cassandra, the legend dies
Cassandra, stay the night
Cassandra, till sunrise

Open the door if you can brave the danger
Haven’t you seen by now what lies ahead
Nobody listens till it’s too late to change it
Was in suspicion no matter what you said

Cassandra, when you cry
Cassandra, the legend dies
Cassandra, stay the night
Cassandra, till sunrise
Cassandra when you cry
Cassandra, till sunrise

Every day a little harder
Look out boy, you’re on your own!
Every day a little softer
You don’t seem to be on your toes
It’s just a job, swing with the punches
Pick up your hands, sting like a bee.

Prizefighters heading for home
Prizefighters everyone knows.

Every day a little slower
It’s just the sweat in my eyes
You don’t look the way you used to.
Don’t drink that water though it tastes nice.
On the ropes and in a corner.
You’ve just got to give me one more try

Prizefighters heading for home
Prizefighters everyone knows

Who made the money?
I didn’t spend it!
The dice were loaded once or twice

Prizefighters, heading for home
Prizefighters, everyone knows

Would the lady care to dance?
Oh yes, I’d love to ….

Got to reach Atlantic City,
I’m a winner every day
Blackjack holds no attraction
There’s just one game I play
Get a grip on a handle of steel
Pull slowly and watch the wheels

When you play with a slot machine
When you play with a slot machine

It’s too tough, choke back the anger
A black fever takes a hold on me
I play rough, don’t feel the danger
Won’t give barely nothing for free
I know the number I’m dreaming of
It’s just a symbol; a matter of love

When you play with a slot machine
Don’t you know you’re playing with my heart?
When you play with a slot machine
You know you’re going to tear it apart

Stay cool, hold yourself together
Keep praying that your luck’s gonna turn
Don’t be a fool! Don’t stay forever
You know you’re going to get burned!

When you play with a slot machine
When you play with a slot machine

When you play with a slot machine
Don’t you know you’re playing with my heart?
When you play with a slot machine

When you play with a slot machine
When you play with a slot machine

Drat! I’ve torn my dress!
Oh really, look!

Football Saturday
And our team has won
Looking for a fight
Now the game has just begun

All around our favoured nation
Some beat to a different drum
Carry knives and carry grudges
Drawing blood just for fun

If you stare at me
You will pay the price
Like the master race
We believe that might is right

It’s war from the way I see it
Starting with the place you’re born
Somewhere there’s a light in the distance
Run for cover and keep me warm

Someday soon I’ll taste sweet freedom
With a woman like you
I know that I can change

From gaol it’s a hard climb upwards
There were others worse than me
I dreamt that a angel told me
Only love can you free

Someday soon I’ll taste sweet freedom
With a woman like you
I know that I can change

Fascinating, Captain…

When I come in from the cold
I need somebody to hold
Sometimes it’s the price you pay
Feels so good I can’t stay.

Don’t fall in love with me
I’ll hurt you, can’t you see?
Don’t fall in love with me
It was never meant to be

Better stop wearing that frown
When Johnny comes marching in to town
You can squeeze the trigger on my gun
Get ready, start to run

Don’t fall in love with me
I’ll hurt you can’t you see?
Don’t fall in love with me
It was never meant to be

Nobody knows what tomorrow may bring
Or how far we may be blown by the wind
Over the fields and far from home
There are those who’ll try to rob of what you know

One thing that’s clear
One thing I know
Oh how I love you
Oh how I love you

Don’t sail away to a distant shore
Searching for something found inside your front door

One thing you’ll see
One thing you’ll know
Oh how I love you
Oh how I love you

You used to say that I’m so happy with you
Well nothing’s changed its just the things we do
All those cloudy cloudy days
When the skies are turned to grey

Something you know
Something for sure
Oh how I love you
Oh how I love you

Oh how I love you

(instrumental)

You know it’s so hard
To be up before dawn
A few seconds’ breath
A last cigarette
Execution fever
In a war torn land
Maybe it’s the will of the Lord
Or the mind of man

There’s been heavy fighting
In the Gulf of Iran
Pour away your whiskey
Or meet the kiss of the lash
Cover up your women
Like it says in the Koran
Maybe it’s the will of the Lord
Or the mind of man

Infos générales

Sorti en 2000

Steve Hackett : chant, guitares, harmonica
Chris Thompson : chant (1, 2, 3, 5, 6)
Brian May : guitare (1, 3), chant (3)
Pete Trewavas : basse (1)
Ian Mosley : batterie (1)
Nick Magnus : claviers (1, 2, 3, 4, 5, 8), batterie virtuelle (2, 3, 4, 5, 8), piano (6)
Bonnie Tyler : chant (2)
Terry Pack : basse (2)
Le Phil Henderson Orchestra arrangé par Phil Henderson (2)

Produit par Steve Hackett, sauf (3) par Steve Hackett et Brian May

octopus92

3/5

“L’album le plus bancal de Steve !

Enregistré en 1984 avec des musiciens brésiliens (mais contrairement à ce qui est dit dans les notes de pochettes, d’autres musiciens européens ont enregistré avant lui dans ce pays…), il souffre d’un défaut terrible : un chant éxécrable assuré par Steve (évident sur l’insupportable “Myopia”)

Eclectique à l’extrême, on trouvera des ambiances rythmées (“What’s my name” ou bien “The Rio connection” avec ses deux batteries), le premier morceau de blues écrit par Steve (“Let me count the ways”), d’autres plus feutrées (“Taking the easy way out”) et même un clin d’oeil aux dessins animés de Disney !

Pas inoubliable donc mais méritant le détour pour son approche originale.

La ré-édition remastérisée de Camino Records avec deux morceaux bonus enregistrés en 1986 sera à privilégier pour un éventuel achat.”

WhiteWinter

4/5

“Un album en demi-teinte… Ou pour être gentil, disons aux trois quarts.

La raison principale, c’est non pas encore l’absence de basse (sauf sur “The rio connection” et un ou deux autres titres), mais le chant de Steve. Plus criard que jamais, ce qui rend l’écoute de morceaux comme “What’s my name”, “Let me count the ways” et “Myopia” plutôt difficile… Du reste, cet album marque le retour à une certaine ouverture, notamment grâce au funk (“The rio connection”), aux percussions brésiliennes (“Mathilda Smith-Williams home for the aged”, “What’s my name”), voire même à un style plus électronique (sur “Duel”, avec Steve qui fait mumuse avec un E-bow). Les idées sont là, l’originalité aussi, mais il manque un tout petit quelque chose… La bonne humeur quant à elle ne manque pas, et l’histoire veut qu’il en était de même pendant l’enregistrement, les musiciens brésiliens n’ayant même pas voulu être payés !). Restent des petites, voire une ou deux grandes réussites, notamment “Taking the easy way out”, moment de douceur éthérée de l’album.

Comme l’a dit octopus92, la réédition chez Camino est à préférer pour ses deux excellents morceaux bonus, “Stadiums of the damned” et le très surprenant “The gulf”, morceau le plus “progressif” de cette période.

Reste une seule chose, c’est que je n’aime pas le “nouvel” ordre des chansons…”

Tracklist

Stone mirror mountain rises from a low stream
The scent of flowers like an ocean of weeds
I take a boat formed like a long handled sword
The Heavens are vast and the sea is broad
What’s my name…
We find the great cave of burning clouds
The water horses come flickering down
A gap in consciousness, a picture takes shape
I hear a thundering
A tidal wave breaks
What’s my name…

Lorem ipsum dolor sit amet, consectetur adipiscing elit. Ut elit tellus, luctus nec ullamcorper mattis, pulvinar dapibus leo.

Maltilda Smith-Williams Home For The Aged
Bingo and Buggy rides
Wheelchairs and early night
Maltilda Smith-Williams Home For The Aged
And if you smuggle in
Another drop of gin
We’ll take your hearing aid
They never hear what you say
Maltilda Smith-Williams Home For The Aged
A second childhood
But only if you’re good
I hear Maltilda passed away
Her spirit’s still with us today
She watches over us
And those who make a fuss
You’ve never had it so good
They’d run away if they could

Let me count the ways I love you babe
You don’t know what you do
I’m a mess without your love baby blue
You were the only one I ever loved
You know I owe you every time
You were the first one to believe in me
And that’s before I had a dime
I’m a mess without your love baby blue
As I walk by along the waterfront
With all my clothes soaked wet through
Let me count the ways I love you babe
You don’t know what you do
I’m a mess without your love baby blue

An honourable man picks a slender orchid
And crushed it between his hands
The sacred knife of a Samurai
Serves up Sushi in a sandwich bar
A doll that’s made in Japan
Is made for every man
A doll that’s made in Japan
Is made for every man
Tigerlily with eyes of jade
Takes you to a carnival of toy balloons
See a kite floating by with the face of a Chinese mandarin
It’s such a different world it’s hard to remember
Which land you’re in
I seem to recall a milk white hand
Painted with blood red fingernails
A doll that’s made in Japan
Is made for every man
A doll that’s made in Japan
Is made for every man
A tiny girl with empty hands
Walks the streets of Tokyo
A doll that’s made in Japan
Is made for every man
A doll that’s made in Japan
Is made for every man
As you fly through a city of empty souls
You feel that the wind is whispering

There’s a ten ton truck
Coming down the road
No matter how fast I drive
No matter where I go
Don’t turn back
It keeps coming near
Don’t turn back
Don’t let it come near
Just when you think you’re safe
And you’re in control
You see an open road
Not another soul
Don’t turn back
It keeps coming near
Don’t turn back
It keeps coming near
Can’t stop shaking and your blood runs cold
Fuel injection that runs way too slow
Will this killer win and run you off the road
Don’t turn back
It keeps coming near
Don’t turn back
It keeps coming near

I can’t see, I can’t sleep
I can’t swim, I can’t talk
Can’t write, I can’t count
I can’t fly, can’t play today
Take your things and run away
Grab yourself a holiday
Fix your nose and change your name
Thyroid eyes they diagnose
Myopia…
A red light, stomach ache
Relax but don’t be late
It’s too loud I’ve disappeared
I can’t drink, I can’t tell the time
Epic hero Gilgamesh
Battling with a lioness
One man war against the odds
Spectacles that break because
Myopia…
I don’t think I can afford ya
You make me ugly anyhow
I think I see a car before me
Or maybe I’ve just hit a cow
I don’t think I can afford ya
You make me ugly anyhow
I think I see a car before me
Or maybe I’ve just hit a cow
Myopia…

Another night I’ve drunk my fill
Perhaps it’s time to dim the light
And while the hours the sandman comes
Stumbling round like a bowery bum
Maybe I’ll dream an Egyptian scene
Taking the easy way out
Taking the easy way out again
Maybe we’ll meet in paradise
Where far beyond the shores of trust
A boat on sea can travel the land
We set sail for a castle of sand
The desert wind
Can darken your skin
Taking the easy way out
Taking the easy way out again
Taking the easy way out
I’m taking the easy way out again

Oh it’s so hard
To be up before dawn
You know it’s so hard
To be up before dawn
A few seconds’ breath
A last cigarette
Execution fever
In a war torn land

Maybe it’s the will of the Lord
Or the mind of a man

There’s been heavy fighting
In the Gulf of Iran
Pour away your whiskey
Or meet the kiss of the lash
Cover up your women
Like it says in the Koran

Well maybe it’s the will of the Lord
Or the mind of a man

Maybe it’s the will of the Lord
Or the mind of a man

Maybe it’s the will of the Lord
Or the mind of a man

Football Saturday
And our team has won
Looking for a fight
Now the game has just begun

All around our favoured nation
Some beat to a different drum
Carry kives and carry grudges
Drawing blood just for fun

If you stare at me
You will pay the price
Like the master race
We believe that might is right

It’s war from the way I see it
Starting with the place you’re born
Somewhere there’s a light in the distance
Run for cover and keep me warm

Someday soon I’ll taste sweet freedom
With a woman like you
I know that I can change
With a woman like you
I know that I can change

Kick to the left
And you kick to the right
Run round the bend
Till you’re clean out of sight

From gaol it’s hard a climb upwards
There were others worse than me
I dreamt that an angel told me
Only love can set you free

Someday soon I’ll taste sweet freedom
With a woman like you
I know that I can change
With a woman like you
I know that I can change

With a woman like you
I know that I can change
With a woman like you
I know that I can change

(instrumental)

Infos générales

Sorti en 1984

Steve Hackett : chant, guitares, koto, marimba, percussions, harmonica
Nick Magnus : claviers
Kim Poor : choeurs (5)
Ian Mosley : batterie
Rui Motta : batterie
Serginho (Roupa) Nova : batterie
Waldemar Falcao : percussions, flûte
Clive Stevens : synthétiseur à vent
Ronaldo Diamante : basse
Fernando Moura : Rhodes
Les percussionistes brésiliens (Sidinho Moreira, Jaburu, Junior, Peninha, Aiainho, Baca)

Produit par Steve Hackett

octopus92

5/5

Attention !
Ce disque est le premier album acoustique de Steve, avec donc beaucoup de guitare classique et juste des nappes de claviers discrètes et le frère John à la flûte sur quelques morceaux…

Mais quel bijou ! Une petite merveille de rêveries, parfaite pour la relaxation, avec ce son de guitare très ample (merci la réverbération…) et ces perles mélodiques toutes simples, immédiatement accessibles.

Pour bercer, on a rarement fait mieux”

Whitewinter

5/5

“Je dirais même plus, comme début, on a fait pire !

Bien sûr, il faut pour tout amateur de pop rock et ou de rock progressif une attention toute particulière à cet album, qui ouvre la voie vers une des plus belles facettes de son compositeur, même si pas la plus évidente. John l’accompagne sur deux morceaux (“Kim” et “Second chance”), et le travail des claviers est partagé entre Steve et Nick Magnus. On peut les entendre sur une reprise de “Kim”, encore plus belle que l’originale, et les magnifiques “The journey” et “Calmaria”. Du reste, cet album contient de nombreuses pépites de guitare seule, à commencer par “Bay of kings”, “Black light”, “Cast adrift”, “Marigold”… Ce qu’il y a de bien et d’original, c’est que ces sons de guitare sont assez variés, gommant toute possibilité d’ennui (sauf pour les plus récalcitrants à ce style).

Le premier album acoustique de Steve est une parfaite réussite, c’est tout simplement mon album préféré de lui…”

Tracklist

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Infos générales

Sorti en 1983

Steve Hackett : guitare acoustique et claviers
John Hackett : flûte (3, 7)
Nick Magnus : claviers (2, 3, 12)

Produit par Steve Hackett et John Acock

octopus92

4/5

“Renouant avec une vrai section rythmique (et le futur batteur de Marillion Ian Mosley), cet album de qualité comporte deux classiques du répertoire de Steve : “Camino royale” et “Cell 151”.

Le reste est souvent enthousiasmant avec notamment un côté jazz-rock inédit chez Steve (les instrumentaux “Always somewhere else” et “Group therapy”) et des passages joyeux (“Give it away”)

Parfois oublié, cet album, certes de transition, marque une vrai cassure avec son passé et confirme les dispositions de Steve a assuré pleinement son chant, domaine dans lequel il a fait des progrès.”

WhiteWinter

5/5

“L’album des années 80 de toutes les qualités, pas seulement le mieux chanté et composé, tout simplement le meilleur à mon goût et celui de beaucoup (parmi les électriques).

Il y a bien sûr ces deux poids lourds placés en début d’album, Camino royale (au doux accent d’un “Dance on a volcano” plus FM) au thème souvent repris dans l’album (notamment dans l’instrumental “Hackett to pieces”) et “Cell 151” (la chanson qui a le mieux marché de la carrière de Steve). Il y a ces deux instrumentaux détonnants (“Always somewhere else” et “Group therapy”) auxquels il ne manque qu’une vraie basse (une contrebasse est créditée, mais elle ne joue, parait-il, que sur “Cell 151”), et c’est franchement dommage car Ian Mosley fait un super boulot. Il y a aussi d’excellentes chansons comme le très joyeux “Give it away”, “Walking through walls” (rigolo, avec tous ses bruitages), et la douce “India rubber man” et son petit harmonica.

Un album de rock FM aux relents jazz, très réjouissant.”

Tracklist

Walking along the Camino Royale
The Mississippi sighs
Soft in the night when the wind starts to rise
And I’m lifted high around the corner
So I spin
Fast as a ride at the fair
Like a snake that flies through the air
When I cry enough i’m fired from a gun
And thrown through the doors
Only the fool learns to get through
Ahead I see candles floating in pails
Each placed upon a chair
Into a tent where they turn round the bend
Through a kitchen leading to a staircase
Now I stop
Seems that I’ve been led astray
There are no new answers today
This road is blocked
Only the fool learns to get through

My lucky number is on a prison door
And it’s found on everything I wear
And I’ve got to get away
From 151
Cell 151
Sharing with me is a man who shot his wife
And I’m afraid to fall asleep at night
Hear me when i cry
I can’t see the sky
Too much time
I left the world behind
And it makes me sad
Thinking about the past feeling bad
I know I’ve been blind
All I need is a space to unwind
But I can’t stay
In 151

(instrumental)

Time improves you or dilutes you
But there is no standing still
If you don’t scream nobody hears you
If you won’t fight then no-one will
When I’m walking
Walking through walls
Walking through walls
You can breathe under water
You will find it hard at first
Getting used to ritual slaughter
Feeling like your head might burst
Bare your teeth and bang your drum
Get up on your legs and start to run
No no no you can’t sit down
No-one’s friend and no-one’s clown
You can’t argue with a mad man
Age of reason’s sinking fast
As your arms become steel girders
Crashing through a sheet of glass
When I’m walking
Walking through walls
Walking
Walking through walls
Bare your teeth and bang your drum
Get up on your legs and start to run
No no no you can’t sit down
No-one’s friend and no-one’s clown
Walking
Walking through walls

A broken heart’s not easy to mend
Why must you break it again
When you lose your prize possession
Look around you’re no exception
Give it away
Your mind is all made up
When you lose your first love
You’ll never feel that way
No-one can take her place
When you lose your self-expression
It’s just time to change direction
Give it away
When you start you’re lovers and friends
But when you part you’re strangers again
Now the time just passes slowly
Time to live for yourself only
You watch the years go by
And she’s no longer there
Then one day you will find
That you no longer care
When you lose your prize possession
Look around you’re no exception
When you lose your self-expression
It’s just time to change direction
There’s no need for more protection

Far in the distance and way up high
Circling slowly beneath the sky
Lone in the air and the world is turning
Looking the eagle straight in the eye
What goes up must come down
And you circle all around
On your own
You’re seeing things in a dream
You learn to swing
Over trees
In the clouds
It’s a breeze
Blowing around
Leaving the ground and you’re feeling weightless
To the sea sparkling in the sun
There’s a beach and it’s time for landing
But it seems that you’ve just begun

(instrumental)

India rubber man
How far can you bend
Way across the sea far and wide
India rubber man
How long can you extend
The more I stretch the more you ask
Illusion has no end
India rubber man
How high can you ascend
Up and up and disappear
I’ll show you with my magic rope
India rubber man
How far will you go
I really have no plans
I work in a medicine show

(instrumental)

(instrumental)

Infos générales

Sorti en 1983

Steve Hackett : chant, guitares, harmonica
Nick Magnus : claviers
Chris Lawrence : contrebasse
Nigel Warren-Green : violoncelle
Ian Mosley : batterie

Produit par Steve Hackett et John Acock

octopus92

2/5

“Branle-bas de combat sur ce disque : plus de chanteur, plus de groupe, plus de batteur !

Tout est désormais assuré par Steve et son fidèle acolyte Nick Magnus.

Premier album enregistré entièrement avec une boîte à rythme (la fameuse Linn-Drum), il bénéficie malheureusement aujourd’hui d’un son daté et d’un côté “home-démo” tirant irrémédiablement les compositions vers le bas.

De plus, toutes les mélodies vocales assurées par Steve (il s’en sort certes pas trop mal mais n’apparaît pas comme un chanteur “naturel”…) ne sont pas à la hauteur de la musique et sont parfois un peu trop mièvres à mon goût (les insipides “Turn back time” et “Can’t let go”)

On est au début des années 80 et malgré un très bon titre instrumental et plusieures réussites (“Funny feelings” et “Hope I don’t wake” en “tubes virtuels” et quelques passages bien pensés), ce disque reste le plus contestable de sa carrière (l’édition remastérisée n’a pas pu sauver le tout !)”

WhiteWinter

3/5

“Plus de groupe, rien que Nick et Steve (avec John en intervenant occassionnel), un Steve libéré de toute gérance, “guéri” en gros !

Le disque est à l’image de la pochette, plein de joie et de bonne humeur, et semble, pas son côté pop eighties, à des années-lumières de ses prédécésseurs. Seul “Funny feeling” peut évoquer “The show”. “Hope I don’t wake”, chanson la plus réussie vocalement, aurait pu faire un bon tube… Du reste, chaque chanson est une réussite en matière de composition (surtout la douce ballade “Turn back time”, les deux instrumentaux et “Overnight sleeper”), mais tout est dans la sonorité… Steve a choisi de ne pas traiter sa voix, et la meilleure signature rythmique reste le pédalier basse de John sur “The air-conditionned nightmare” !

A écouter dans les mêmes conditions que le Steve de la pochette, en ambiance…”

Tracklist

Hope I don’t wake in the morning
Find you running right away
Every hour I’m down and worried
Dream about it night and day
To many places you can go
When drowning in your sleep
But no one wants to lie awake
For hours counting sheep
I’m fine what about you
OK tell me the news
We all know how to fight
When there’s something to lose
In my mind l feel elation
For many days
I know you’ll go
Surrounded by four walls
And by yourself you’ll stay inside
Behind your own front door
Well I need to be on my way
Hope to get through another day
Well you know what shape I’m in
And it seems I can never win

Don’t want a picture
To pin upon my wall
Just want someone to
Help me forget that’s all
I don’t want to be here on my own
Hungry as a dog without a bone
Don’t want a postcard
Showing some distant view
Just want someone to
Laugh when I blow a fuse
And I don’t want to be alone
I don’t want to cry and moan
Nobody can hear a single word I say
As I walk the floor
Seems there’s nothing more
Time to go to sleep once more
But in my dreams there’s a place
Where it’s never too late
I see nothing has changed
And that’s where you still remain

Your face is like angel
But what if you won’t let me touch you
You can change into a dragon
But what if your flume is imagined
Feel like I’m lying on a bed of nails
You’re taking the wind right out of my sails
Can’t let go
I never hear you saying
I’m giving you all of my loving
I’m sure you’ve got a reason
But one day you know I’ll get even
Yes I’m getting tired
Playing diplomat
Why is she always taking
The shirt off my back

(instrumental)

Hey it’s no surprise that you are going tonight
Well alright
Had a funny feeling
I don’t want to go on wasting your time
Well alright
Had a funny feeling
That came the whole morning through
It’s not hard to do
I’m just not getting through
Don’t live a lie
I’d rather say goodbye
Please don’t explain
No use pretending it’s the same
You don’t have to tell me I’ve known it all day
Well alright
Had a funny feeling
I don’t see a happy ending coming our way
Well alright
Had a funny feeling

(instrumental)

Beneath the scattered light
Across bare hills of night
I dreamt a train just missed me
Another came in sight
I ran across the track
Then had to turn right back
A new one came straight at me
The next behind my back
Nowhere else to turn to
There’re walls on either side
Why must the embankment be so high
Beside myself with weakness
And faint from running wild
I could hear the sound of
Burning coal
They never seem to stop
But always get to smoke
Right out between two tunnels
I ran until I woke

I’m not on the ball
Living in a world of so much change
Thought that I might be much stronger
When I’m far away from you
What I’d give to learn to
Turn back time
Sometimes words are dancing
Like caterpillars moving on a page
I would send you all my letters
Feels like living in a cage
What I’d give to learn to
Turn back time
Your love is bound to see me through
Your warmth is bound to find a way
Your touch is all I really need
Your smile the one and only key

(instrumental)

(instrumental)

(instrumental)

Infos générales

Sorti en 1981

Steve Hackett : guitares, basse, chant
Nick Magnus : claviers, boîte à rythmes
Bimbo Acock : saxophone alto (2)
John Hackett : flûte (7), pédalier basse (4)

Produit par Steve Hackett, John Acock et Nick Magnus

octopus92

4/5

“Suite logique de l’album précédent, il en reprend les recettes, le son et ses musiciens mais lui ressemble un peu trop étrangement d’ailleurs (“Time to get out” faisant penser à “Every day”, “Slogans” à “Clocks”, etc…)

Les instrumentaux magnifiques que sont “The steppes” et “Hammer in the sand” réhaussent cet album, enregistré peut-être un peu trop vite mais dans la digne lignée de son prédécesseur.

Et puis, comment ne pas être bluffé par la douceur de “The toast” et ce “Sentimental institution” piqué au son des années 1930…”

WhiteWinter

5/5

“En effet, le digne successeur de “Spectral mornings”, son petit frère avec quelques ressemblances, juste assez et pas trop.

“The steppes” ouvre l’album de manière orientale, avaçant progressivement. “Time to get out” et sa double harmonie évoquent “Every day”, sans le solo de guitare. “Slogans”, plus déjanté qu’un “Clocks”, met en avant le jeu des musiciens, en rappelant que Steve est aussi un maître du tapping. La seconde partie de la première face est dominée par une splendide chanson acoustique crépusculaire (“Leaving”), un développement à la guitare classique (“Two vamps as guests”) et un instrumental joyeux et réjouissant aux accents jazz-rock (“Jacuzzi”). “Hammer in the sand” est une petite merveille mélant claviers et guitare-synthé, tandis que “The toast” détend, telle une berceuse (et la preuve même que quand John fait deux notes, c’est tout bonnement génial). C’est la fin de l’album qui est le plus surprenante, avec le très disco “The show”, et “Sentimental institution”, petite drôlerie sur laquelle Steve utilise pour la première fois l’Optigan, clavier qui imite le son des orchestres des années 20-30 !

Un album qui porte le seul malheur d’avoir été trop éclipsé par son prédecesseur, même s’il a encore mieux marché à l’époque de sa sortie.”

Tracklist

(instrumental)

Find me ninety miles from Cuba
In a land that has no borders
If the bomb can do it for you
We refuse to take your orders
We remember what you taught us
Time to get out, while you can
23 and one half billion
Joints were smoked by lunchtime that Thursday
On the Steppes it’s not so easy
Vodka helps them sing much stronger
Place your bets which side lives longer
Time to get out, while you can…

(instrumental)

Endless fog and rain
Grounded ‘plane
There an unshaved man
Was exchanged
Wonder if, a cold grey sky
They led me here to die
(You can telephone from here)
When you wish
(Time to run away from here)
Won’t be missed at all
Turn the snow to red
Someone fled
Tell the viewers
Were you starved or fed?
Running wild, a hunted deer
Her eyes were filled with fear
(People dream in colour here)
So they said
(Shine your shoes from ear to ear)
Right or left, the west

(instrumental)

(instrumental)

(instrumental)

Round and round and up and down
Round and round and up and down
Drinking all the wine we found
Not so easy to remain
Steady, happy
Round and round and up and down
Round and round and up and down
Drinking all the wine we found
Not so easy to remain
Steady, happy
Say it soft and say it slow
Tell me what I want to know
Pour it ’till it overflows
Love may come and love may go
Such a pity

Yes, I’m such a simple man
Just book me on the flight
Every day’s another place
Playing into the night
And you can’t unwind
You’re wrecked before the show
Everything’s fine when you feel
that ‘Johnny go go go’ – go go
Will you play tonight for me?
Promise I’ll do my best
Yes, rock music should be free
Money’s worth less and less
And the walls should be cracked
Four red faces make a noise
All dressed in black
I can’t tell if they are girls or boys – or boys
Will you play tonight for me?
Promise I’ll do my best
Yes, rock music should be free
Money’s worth less and less
And the walls should be cracked
Four red faces make a noise
All dressed in black
I can’t tell if they are girls or boys – or boys – or boys

I’ll tell you a story
About a girl who came my way
We upped and married
Three kids, a dog in Sante Fe
Now she’s gone I’m by myself
I’m gonna join
A sentimental institution
I’m gonna pack
Pack all my little old blues away
But I didn’t stay left on the shelf
Mrs. Johnson from Wisconsin
She’s a widow, plain to see
And Minnesota from Dakota
Likes the way I make her tea
Sweet as candy
I’m gonna join
A sentimental institution
No-one to stop me
From playing Benny Goodman all day
So if you want romance
Just step my way
The band starts to play
I can thrill her
With Glenn Miller
Or a song from
Louis Armstrong
With Jim Dorsey
Or Arty Shaw, we
Know this magic can’t go wrong
Old and lovely
She’s so wealthy
But so ugly
I’ve gone crazy
Someone help me do

When you move up close to me and run your fingers through my hair
I feel like when you’re positive, I’m more like Hercules unchained
Don’t ever try to sleep with me, I might get very nasty
As for beating people up for me, for someone’s liable to get paid

Hunt’s in the night, for that you got a love allergy
Hercules unchained

So you wear a part of me, I feel as though you might be watching
Every psycho fool I’m not sure, ooh you’re driving me insane
Your eyes are black, your hair is smooth, but I can’t care enough for you
Your love is like a sewer main, I wonder if you’ll die and we’ll get framed

Now easy go, cos that you got a love allergy
Hercules unchained

Well you tell me that you love me then you kiss me and you hug me
Then you kick me where it hurts, you know I think this situation’s strained
You tell me I’m your Romeo, you’re power-plus and man-of-moment
Guess we’d better move the scene to Superman and Lois Lane

I’m easy go, cos that you got a love allergy
Hercules unchained

Infos générales

Sorti en 1980

Steve Hackett : guitares, claviers, chant
John Hackett : flûtes
Nick Magnus : claviers
Dik Cadbury : basse, chant
John Shearer : batterie
Pete Hicks : chant

Produit par John Acock et Steve Hackett

octopus92

5/5

“Enfin entouré d’un vrai groupe, c’est sans aucun doute le plus abouti des albums de Steve des années 70.

Les solos de guitare sont magiques (la fin de “Every day” et le romantisme du morceau-titre), l’exotisme est présent sur plusieurs titres (avec Steve jouant du Koto, instrument chinois), il y a le délirant “The ballad of the decomposing man” et son humour décapant, et les musiciens sont mis en avant sur le remarquable “Clocks”.

Steve, lui-même, considère que cet album regorgeant de “classiques” de son répertoire est une référence.

Bref, un chef d’oeuvre unanimement incontesté.”

WhiteWinter

5/5

“Troisième album de Steve, enfin entouré d’un groupe complet et soudé, et souvent considéré comme la meilleure galette de ces premières années, voire sa meilleure tout court.

Il est vrai que l’éclectisme, qui pouvait dérouter sur le précédent album, fait ici preuve d’une remarquable efficacité. “Spectral mornings”, ce sont deux solos mythiques (l’instrumental-titre et Every day, chanson entraînante à double harmonie), une ballade acoustique d’une grande pureté (“The virgin and the gypsy”), un instrumental planant oriental (“The red flower of Taï Chi blooms everywhere”), des bizarreries rock dont seul Steve a le secret (“Clocks” et “Tigermoth”, avec utilisation du pédalier basse), et un interlude acoustique évoluant en trois parties (un peu à part dans la carrière de Steve, d’autant plus qu’il est enchaîné avec “Tigermoth”). Bref, que de belles réussites, et qui fonctionne parfaitement en tant que tout.”

Tracklist

Can you light a fire in Winter’s face
Or say why a life has gone to waste
Pleasure Island was on overcrowded place
Cleopatra’s Needle conquered fear
One more nail in your coffin dear
Endless torture for at least two thousand years
(Every Day)
What’s the use of friendship, who am I
Hell bent on destruction, how I tried
You became a ghost to me long before you died

A gipsy compliment for (kneel down)
The scent of tyranny’s daughter (we are found)
At seventeen were bled in wild cream
Passing milk thistle by
Fox on the run
Old ragged robin flies
Virtue undone
A garland of green flowers (field of lime)
Surround a silver smoke tree (yours and mine)
Sweet marigold, not easy to find
Passing milk thistle by
Fox on the run
Old ragged robin flies
Virtue undone

(instrumental)

(instrumental)

In a very large factory I belong
And I work the night shift oll week long
Freddy on a chainsaw lost his feet
Thinking ’bout a blonde he’ll never meet
Tried to take his life again the other week
Keep your chin up, haven’t a care are you?
Just join the party, allegiance I swear
What’s the matter with Arthur Royal
I’ll go and top up his batteries and check the oil
Arthur blew a fuse two days ago,
Set himself alight, you didn’t know
Nearly burnt us down the twit just had to go
Take your chances, live on hot air
Chance of promotion, I’ll take that chair
Dreaming of golden sounds and palm trees
I said file these quickly and then staple these
Get yourself altered undo the seam, get back just
In time for tea (and don’t be late mind)
Nobody’s perfect least of all me
Married the job at age 23
Just keep my nose clean egg chips and beans
I’m always full of steam

(instrumental)

Just like his old father before him
Who served in the great war would sing
We’re proud to serve Kaiser or King
They’ll always find someone who’s willing
To take Tigermoth chances alone
The boy that should never have flown
Wos thrown o hundred yards
Blown into smithereens
A crowd drew near but failed to hear
Look I’m over here and still one of you wait
The young man’s despondence soon halted
When gently a voice that he knew
Took shope slowly out of the blue
Flight Captain Jornes at your service
Last month I went down in the drink
You’re not as alone as you think
Here’s some of your motes from last Thursday
Shot down in their prime over Rome
The boys that can never go home
We’re thrown a hundred yards
Blown into smithereens
Until we meet again my friends
No regrets and Lily Marlene sings again

(instrumental)

Infos générales

Sorti en 1979

Steve Hackett : guitares, harmonica, chant
John Hackett : flûtes, modèles “concert et bambou chinois”, pédalier basse
Nick Magnus : claviers
Dik Cadbury : basse, pédalier basse, violon, chant
John Shearer : batterie
Pete Hicks : chant

Produit par John Acock et Steve Hackett

octopus92

5/5

“Libéré de Genesis, on comprend mieux à l’écoute de ce disque pourquoi Steve prétendait que le groupe n’acceptait pas toujours ses idées…(deux titres refusés lors des séances de “Wind and wuthering” y figurent)

Ici, cela foisonne et tout est interprété avec une maîtrise exceptionnelle ! Cela commence dès le premier titre avec ses guitares splendides et son refrain entêtant, puis enchaîne avec les trouvailles vocales de “Carry on up the vicarage”, l’émouvant “Kim” en hommage à la femme de Steve (peintre dans la vie et qui désignera une grande partie des pochettes des disques de son mari), le jazzy “Hoping love will last” magnifiquement chanté par Randy Crawford, la suite instrumentale de l’ancienne deuxième face vinyl jusqu’au dernier titre et sa fin en apesanteur (chanté par Richie Havens qui avait assuré la première partie de Genesis en 1977) !

La présence surprenante de musiciens américains (Crawford, Chester Thompson mais surtout deux membres du groupe Kansas) mélangée aux compositions bien européennes permettent un résultat subtil avec des morceaux très forts ayant chacun une identité propre.

L’inventivité et la diversité des compositions est de toute beauté et ne lassera pas l’auditeur.

A noter sur l’édition remastérisée, une version différente de “Narnia” chantée par un anglais John Perry, prévue initialement en promo 45 tours mais jamais publiée pour d’obscures raisons de royalties”.

WhiteWinter

4/5

“L’album qui lance vraiment la carrière solo de Steve, après son départ de Genesis.

On a souvent reproché à cet album une trop grande impersonnalité, en raison du fait que la majorité des chansons contiennent un ou des invités. Parmi ceux-ci, Steve Walsh et sa superbe voix, sur le lumineux Narnia. On retrouvera également Randy Crawford sur l’étonnament jazzy “Hoping love will last”, Richie Havens (un des héros de Woodstock) sur “How can I ?” et “Icarus ascending”. Ce dernier morceau est le plus représentatif de l’éclectisme qui habite cet album, mélangeant parties reggae et d’autres à la limite du grandiose ! Une grande richesse doublée d’une certaine ouverture qui me laisse toujours un peu perplexe en tant que tout. N’en demeurent pas moins d’excellents morceaux, notamment Kim (duo guitare acoustique-flûte) et la suite progressive de l’ancienne seconde face (“Land of a thousand autumns” / “Please don’t touch”).”

Tracklist

Things they taught you at school
Can sometimes disappear
Why do you disbelieve
The things I said were true
Of a land nothing planned It’s just happens
Girls and boys who shout come out to play
With a queen cold as ice
You’d best take my advice
To steer clear of her charm
She’s easily annoyed
What’s that sound, you turn around
There just happen to be bells
And reindeers drawing a sleigh
There troubled with snow covered peaks
Till the end of time
We know you’re a daughter of eve
And a friend of mine
Yes I’m cenain that you
Will influence the rest
She could turn you to stone
You’re suitably impressed
And so easily led
There just happen to be repercussions
Months ahead

….Body was found at the vicarage quarter past nine…..
….People die from sudden strokes all the time…..
….Verdict of misadventure mending the roof…..
The doctor’s niece, whilst tending the rosehedge…..
….Stunq to death by a swarm of bees…..
My wife’s cooking is out of this world take a bite…..
Died from some rare tropical disease in the night…..
Dab hand at pharmaceuticals, still no one guessed ….
The village vet was drowned in the pigswill
You wonder whose turn will be next
In the world of sinners all are condemned
my son this gun’s loaded
(A missing floorboard) then screaming from the belfry he fell

When I feel I’m over reacting
and I’m trying too hard it might
that I need to get out in the country
my friend
There are many ways of seeking my fortune
I don’t really have to lose my mind
on the highway (my) thoughts always racing
away to the sun
no one’s stopping me
from lying around
There’s surely something to it all
taking a friend
I know that I can share
another day in the warm country air

(instrumental)

The local radio says sorry time to go
But, I don’t sleep too well. Where are those Southern Belles
Tryn a’ get a telephone line through South Caroline
Your call may bring somebody down from miles around
I’m watching her eyes again. I won’t use no fountain pen.
The lady isn’t here. The message wasn’t clear.
She left an hour ago, screamed from the floor below.
Mother nature never gives in, she wants you to sing
But how can I go on just singing this song
My car’s out of gas again. Hurry home to see my friend
Money won’t help you to win a new look at things
Lovinq can bring you down so you fall
Then why do you still try to get up at all
Your good’n bad side showin through
Problems are a part of you
You must love someone else or face life by yourself
You may expect a call. She’s waiting in the hall
See the garden grows and it grows nobody else knows
And you can wear just any old thing, the show can begin
I’m falling asleep to dream. No more hills to climb it seems
Money won’t help you to win a new look at things
You never give in
So why don’t you sing
But how can I go on just singing this song
My car’s out of gas again
I’ll be home to see my friend

There are many friends that I once knew
who felt the same special thing that I share with you
They’ve growm apart in different ways
I wonder if someone hears as I start to say
Hoping love will last
I’m hoping love will last on and on
Why do I dream love’s labour’s lost
I’m just a face with a name that you soon forgot
but when I’m scared the most, the nightmare ends
then safe and sound I awake in your arms again
hoping love will last
Yes I ‘m hoping love will last on and on
How can I go on alone when your love is all I’ve known
Sometimes we stay many miles away
you know you’re here every minute throughout the day
within my thoughts, so take good care
I only wait for the moments we both can share
hoping love will last I’m hoping love will last on and on

(instrumental)

(instrumental)

(instrumental)

There are many things that I would rather do
Many many places I would rather be
Splendour wings of ambition
Melted by the sun
To the sea of remorse
Graveyard come
Dogs that bark at night are fearful of the moon
Will the sound of children’s joys remain in tune
The same light shines on vineyards
That makes deserts its true
What awaits me if I follow you
All that’s behind me
And I flew this time
Never falling
Since your eyes first touched mine

Things they taught you at school
Can sometimes disappear
Why do you disbelieve
The things I said were true
Of a land nothing planned It’s just happens
Girls and boys who shout come out to play
With a queen cold as ice
You’d best take my advice
To steer clear of her charm
She’s easily annoyed
What’s that sound, you turn around
There just happen to be bells
And reindeers drawing a sleigh
There troubled with snow covered peaks
Till the end of time
We know you’re a daughter of eve
And a friend of mine
Yes I’m certain that you
Will influence the rest
She could turn you to stone
You’re suitably impressed
And so easily led
There just happen to be repercussions
Months ahead

Contenu d’accordéon

Things they taught you at school
Can sometimes disappear
Why do you disbelieve
The things I said were true
Of a land nothing planned It’s just happens
Girls and boys who shout come out to play
With a queen cold as ice
You’d best take my advice
To steer clear of her charm
She’s easily annoyed
What’s that sound, you turn around
There just happen to be bells
And reindeers drawing a sleigh
There troubled with snow covered peaks
Till the end of time
We know you’re a daughter of eve
And a friend of mine
Yes I’m certain that you
Will influence the rest
She could turn you to stone
You’re suitably impressed
And so easily led
There just happen to be repercussions
Months ahead

Infos générales

Sorti en 1978

Steve Hackett : guitares electriques et acoustiques, chant (2), claviers, percussions
John Hackett : flûtes, piccolos, pédalier basse, claviers
Richie Havens : chant (5, 10), percussions
Randy Crawford : chant (6)
Steve Walsh : chant (1, 3)
John Acock : claviers
Dave Lebolt : claviers
Tom Fowler : basse
Chester Thompson : batterie, percussions
Phil Ehart : batterie, percussions
James Bradley : percussions
Graham Smith : violon
Hugh Malloy : violoncelle
Dale Newman : choeurs (10)
Dan Owen : choeurs (10)
Maria Bonvino : chant soprano (6)

Produit par John Acock et Steve Hackett

octopus92

4/5

“C’est tout simplement le premier album solo jamais publié par un membre de Genesis ! D’ailleurs, on y retrouve la base rythmique Collins-Rutherford du groupe en grande forme (avec Phil se laissant bien aller sur le long final de “Shadow of the hierophant”)
Cependant, Steve Hackett y explore des paysages sonores s’éloignant parfois de ceux du groupe, beaucoup plus extrêmes, même si le son s’y apparente.

Mais on reconnaît déjà tous les ingrédients de la carrière solo de Steve figurant sur ce disque : éclectisme des atmosphères parfois très sombres, instrumentaux alambiqués aux multiples rebondissements (“Ace of wands”), expérimentations sonores et triturages divers, passages acoustiques pastoraux avec le duo guitare classique-flûte de Steve et John Hackett (“Hands of the priestess”, la fin magnifique de “The hermit”, premier titre chanté par Steve lui-même), humour très britannique dans les compositions, influence évidente du tout premier King Crimson et présence accrue du mellotron (la partie chantée de “Shadow of the hierophant” avec la voix haut perchée de Sally Oldfield), passages commerciaux presque FM avec refrains entêtants (“Star of Sirius” chanté par Phil).

Très bien accueilli à sa sortie, cet album est à mon sens un peu sur-estimé, Steve se cherchant encore dans sa manière de composer et structurer ses idées.”

White Winter

5/5

“Le merveilleux premier album de Steve, à mon sens pas sur-estimé pour un sou :p

Disons qu’il y a certains passages moins captivants, en grande partie “A tower struck down”, très rugueux et axé sur les basses, mais déjà rien que ça c’est du tout bon. On se retrouve ça et là transporté du jazz-rock soft et délicieusement déjanté de “Ace of wands”, à la douceur folk pastorale de “Hands of the priestess” (John Hackett et ses débuts glorieux à la flûte), à la pop élancée et optimiste de “Star of Sirius” (Phil qui assure aussi bien au chant ici qu’à la batterie tout le long de l’album). On pourra reprocher à Steve d’être resté trop proche de Genesis ou de ses influences (King Crimson, certains parlant même de “plagiat” pour “Shadow of the hierophant” 😉 ), il n’empêche qu’il trouve déjà ses marques, notamment à travers “Ace of wands”, “The hermit” (sa première très bonne prestation vocale) et le court instrumental éthéré “The lovers”. Notons qu’il a co-écrit “A tower struck down” avec John, et “Shadow of the hierophant” avec Mike Rutherford.

Un de ses tout meilleurs disques, à mon humble avis.”

Tracklist

(instrumental)

(instrumental)

(instrumental)

(instrumental)

The hermit

The mantle of attainment
Weighs heavy on his shoulders
Guided by a lantern
Flickering he grows older
A refuge found in exile
He shuffles on in blindness
You’ll take his hand, he’ll lose himself
Bewildered by your kindness
Enshrouded by darkness
A figure slowly forms
Through many years of banishment
No shelter from the storm
To find this slave of solitude
You’ll know him by his star
Then take his hand, he’ll lose himself
Knowing who you are

Star of Sirius

Above the colour of amber stained evening
An audience danced
Led by a showering hand that brings water
An audience danced
Led by a showering hand that brings water
To both sea and land
Unlock the door of night
Nebulous bright
Again renewed by the vessels of Isis
You’re ready to fly
Although the journey is still far from ended
You gaze at the sky
Above the cloudless night
Nebulous bright
He who knows love knows who you are
Worlds you may find lit by a star
He who knows love knows who you are
Worlds you may find lit by a star
Again renewed by the vessels of Isis
You’re ready to fly
He who knows love knows who you are
Worlds you may find lit by a star…

(instrumental)

Shadow of the Hierophant

Veiling the nightshade bride stalks a flower revealed
Nearing the hour make haste to their threshold concealed
Lost in thought in search of vision
As the moon eclipsed the sun
Casting the same steps glimpsing his own fate to come
Melt in the dream void from which he never can run
Lost in thought in search of vision
As the moon eclipsed the sun
Tears fill the fountains breaking their promise to heal
Rippling the waters mirror an ended ideal
Deep in thought but robbed of vision
As the moon eclipsed the sun

(instrumental)

Shadow of the Hierophant

Veiling the nightshade bride stalks a flower revealed
Nearing the hour make haste to their threshold concealed
Lost in thought in search of vision
As the moon eclipsed the sun
Casting the same steps glimpsing his own fate to come
Melt in the dream void from which he never can run
Lost in thought in search of vision
As the moon eclipsed the sun
Tears fill the fountains breaking their promise to heal
Rippling the waters mirror an ended ideal
Deep in thought but robbed of vision
As the moon eclipsed the sun

Infos générales

Sorti en 1975

Steve Hackett : guitares, mellotron, harmonium, cloches, autoharpe, chant (5)
John Hackett : flûte, synthétiseur, cloches
Mike Rutherford : basse, pédalier basse, guitare 12 cordes
Phil Collins : batterie, percussions, chant (6)
John Acock : synthétiseur, mellotron, harmonium, piano
Sally Oldfield : chant (8)
Robin Miller : hautbois, cor anglais
Nigel Warren-Green : violoncelle
Percy Jones : basse (3)
John Gustafson : basse (6)

Produit par Steve Hackett et John Acock