Label: InsideOut Music: Two Clear Vinyl LPs (with CD IOMSECD 417)
Time: About 65 minutes with bonus material (Other formats available)
LP 1: Side 1: Out of Body, Wolflight, Love Song to a Vampire; Side 2: The Wheel’s Turning, Corycian Fire, Earthshine, Loving Sea
LP 2: Side 1: Black Thunder, Dust and Dreams, Heart Song; Side 2: (Extra Tracks) Pneuma, Midnight Sun (with Todmobile), Caress (on LP 2, but not the enclosed CD)
After a pair of tremendously successful Genesis Revisited tours in Europe, UK, Japan and the US (with many sold out concerts and shows added due to demand), I’m thrilled that Steve Hackett is back again creating new music. He did the historic material from his Genesis era a worthy justice, clearly an important part of his life (and heck, mine too) and career, and some of that material will always be part of his live shows, but clearly it was time to move on to new things.
I was fortunate to have a chance to hear a preview of Wolflight in Steve Hackett’s studio in the autumn of 2014 and my immediate impression then was that the music is incredibly cinematic—vibrant sound and images in the tales unfolding in the music, whether vocal or instrumental. The music is drawn from experiences, places visited, dreams, nightmares, ancient history and inspired by love. I sense that there is still even a bit of delicately blended (and not yet completely written) autobiographical experiences.
Wolflight is an album of contrasts, from broad filmic passages, some briefly anthemic, to moments of delicate beauty. There is no formula being rehashed from his earlier work, but some elements that are pleasantly familiar are mixed with the inventiveness and varied regional instrumentation that I have come to appreciate in Hackett’s work throughout his oeuvre. Steve’s primary collaborators continue to be keyboardist Roger King and his wife Jo Hackett, along with live show bandmates and production team: Gary O’Toole, Rob Townsend, Nick Beggs, Amanda Lehmann, Benedict Fenner and others.
Out of Body is the eerie wolf-howl call and then energetic overture to the album, a brief taste of what’s to come. Title track, Wolflight opens gently, setting a scene of calm, but the challenges of the tale are expressed in orchestral and sharp-edged guitar solos in contrast with the acoustic twelve-string verses—a powerful title track that has proven to adhere well in my memory, despite the complexity of the piece. In addition to the contrast of sound there is also the irony of subject—that of pleasure in pain and the attraction of potential danger, which is the exploration of Love Song to a Vampire with Hackett’s hushed verses (almost a lullaby), powerful refrains and soulful peregrinations on his Les Paul guitar.
The Wheel’s Turning revisits some of the sights and sounds of works as far back as the album Please Don’t Touch—carnivals of inspiration and a bit of time-travel (with shades of his Squackett collaboration with Chris Squire in the marvelous song from the album A Life Within a Day, Divided Self). At first there’s the basic song then orchestral moves to a devilish romp with a brief homage to The Air Conditioned Nightmare (from the album Cured) and then his album Blues With a Feeling before returning to strains of Bach and the memory of that distant carnival. Creating a strong sense of place, Corycian Fire, after a gentle opening, Hackett uses his highly processed vocals like an instrument to accompany the orchestral, choral and regional instruments in exploring the history of an ancient underworld, which has some similarities to his earlier and less adorned instrumental Steppes (from the album Defector for those who have listened since the early days). Earthshine and Loving Sea are a respite from the album’s vigorous beginnings (an intermission similar to the days of changing a film reel in a theater). Earthshine, a classical guitar fantasy merges into the joyful twelve-string and vocal harmonies of Loving Sea, sailing freely.
Black Thunder rumbles with raw emotion; part history and part social commentary on slavery and civil rights struggles of Martin Luther King with an homage (in the liner notes) to Richie Havens (and his well-known song Freedom) who worked with Hackett on his second solo album. Dust and Dreams is at first a vamp of languid movements and drifting mirages that adds layers and builds to portray scenes of divergent impressions and ultimately it’s resolved in a returning to the comfort of Heart Song, dedicated to Hackett’s wife and creative partner Jo.
The bonus material on side 4 of the LPs (two solo guitar tracks on either side of a collaboration with the Icelandic band Todmobile) fits quite well with the overall album. Pneuma (translates as breath, soul and spirit) is a subdued rumination, a calming re-centering of sorts. Midnight Sun is powerful, melodic and pleasing in its chord structure and rhythms. Caress gently closes the album (which is on the LP, but not the CD).
Despite the sharp contrasts in the instrumentation and sources of inspiration, Wolflight is a very cohesive album, which upon a few listens will become deeply and solidly embedded in the canon of Hackett’s work. The Steve Hackett Band will be celebrating his 40 year solo career with a tour in 2015, Acolyte to Wolflight. I hope to attend a show (but tickets sell quickly!) and I urge readers to get tickets to a show, which will certainly be quite a visual and aural experience, as all of Steve Hackett’s concerts have been since the late 1970s.
Seeing John Edginton’s recent documentary Genesis: Sum of the Parts, one might be left with the impression that after Steve Hackett left Genesis in 1977 he went on to do a few minor projects and then disappeared into the ether. On the contrary, after his highly innovative work with Genesis during the tremendously creative period from 1971 to 1977, Hackett has had a varied and successful solo career of nearly 40 years with as many albums, including some well-known collaborations, songs in international charts (Wolflight is in the UK charts, as I write this), and a faithful legion of fans who are spreading his work to a new generation of listeners.
If anything, Steve Hackett is more vital and relevant than ever with new-found and ever-growing energy that belies the span of his career—continuing to blaze new frontiers in music and live shows.
A great show last night by the Steve Hackett Band at the Ridgefield Playhouse in Ridgefield, Connecticut for the Genesis Extended fall 2014 tour of the USA and Canada. More information on the tour is here: http://www.hackettsongs.com/tour.html
This will be the last tour with exclusively Genesis material in North America, with a South American tour scheduled for early 2015. Hackett will have a new solo album in early of 2015 with a planned late summer/autumn tour likely in 2015–stay tuned! The Band: Steve Hackett (guitars), Roger King (keyboards), Gary O’Toole (drums), Nick Beggs (bass, Chapman Stick and guitars), Rob Townsend (woodwinds, keyboards and percussion) and Nad Sylvan (vocals and percussion).
Set List: Dance On A Volcano, Squonk, Dancing With The Moonlit Knight, Fly On A Windshield, Broadway Melody Of 1974, The Return Of The Giant Hogweed, The Fountain Of Salmacis, The Musical Box, I Know What I Like (In Your Wardrobe), Horizons (acoustic, preceded by an excerpt from Bay Of Kings), Firth Of Fifth, Lilywhite Lilith, The Knife, Supper’s Ready Encore: Watcher Of The Skies, Los Endos (including an excerpt of Slogans)
Encore with Watcher of the Skies with Roger King on Mellotron and Nad Sylvan as the Watcher.