01	The Steppes						06:07
	02	Time To Get Out						04:14
	03	Slogans						03:59
	04	Leaving						03:06
	05	Two Vamps As Guests						01:55
	06	Jacuzzi						04:38
	07	Hammer In The Sand						03:13
	08	The Toast						03:45
	09	The Show						03:43
	10	Sentimental Institution						02:33

Hackett, Steve - Defector

Track Listing
1) The Steppes
2) Time To Get Out
3) Slogans
4) Leaving
5) Two Vamps as Guests
6) Jaccuzi
7) Hammer in the Sand
8) The Toast
9) The Show
10) Sentimental Institution

Member: Thekouderwunz

The remainder of the unfinished songs that were recorded at the Spectral Mornings sessions, were finally finished and released the following year. Defector (which some believe is his answer to his former band's song "Down And Out") is another great showcasing of his mercurial band.

Defector like its predecessor, is a fine crafted album, but yet more accessible then Spectral Mornings, which is probably why the album is his best charting in his home land, peaking in the Top Ten on the UK album charts in 1980.

To start things off on Defector is the live anthem "The Steppes", which like a doom metal band, durges its way into the next song "Time To Get Out" which lightens up the mood.

"Slogans" is the song that shows the master of the technique called "tapping" (which features Hackett tapping the strings of the guitar rather then picking). Although I personally love "Slogans", the song can be trying to the ears of those that are into music and not just overindulgent flashiness or technique. Things quiet down in a hurry leading to one of my personal all-time favorite Hackett songs, "Leaving", sung in great three part harmony ending with the great classical guitar solo, "Two Vamps as Guest" (A word of caution: on the latest release of Defector, "Two Vamps as Guest" was horribly linked together with "Jacuzzi" and it destroys the entire mood of both songs)

Those fortunate enough to have a vinyl or cassette version of Defector, will enjoy the next song, the smooth jazz-like "Jaccuzi", which Both Hacketts shine on. "Hammer In The Sand" is a showcasing of Steve's fascination of with the guitar synth, which also is backed by Steve doubling on acoustic guitar and Nick on keyboards.

The next song "The Toast" is as depressing as Hackett would get, but it brings the vocals after a long break of instrumentals. Life seeps back into the music, as Steve (predating his former mates "I Can't Dance") and the band funk stuff up, with the Disco-ish "The Show".

The closer and the second most interesting song on this album, is the 1930-ish big-band song, "Sentimental Institution". Co-written with Peter Hicks, the song, as great as it is, seemed so out of place not only on the album, but during the time period as well. Very daring.

Steve after this album, would never record another with this lineup, only retaining Brother John and Nick throughout the remainder of the eighties.

Album rating: Four Stars.

Charles












Steve Hackett
Spectral Mornings
Chrysalis
1979

After Steve Hackett left Genesis in 1977, Phil Collins, Tony Banks and Mike Rutherford had no one left to hold them back from the evil scheme they apparently had been planning all along - the sellout. It's obvious now with 20 years of hindsight, but in 1977 it wasn't so easy to spot.
Sure, songs like 'More Fool Me" from 1973's otherwise excellent Selling England by the Pound and most of the A Trick of the Tail album were clues, but Wind and Wuthering and Seconds Out seemed to be leaning back in the right direction.
Well, either Hackett saw it coming or he couldn't fight the Three Amigos' desires to go pop any longer without the aid of Peter Gabriel, who left in 1975, so he left too. Phil, Tony and Mike were now free to drag the Genesis name through the mud in what would prove to be one of the most blatant and disgraceful sellouts in rock history.
This also left our valiant young guitar anti-hero alone to follow his own muse, and while Hackett's music became simpler, it didn't sink to such depths as that of his former bandmates - not for a while anyway.
Steve's first solo album, Voyage of the Acolyte came out in 1975 and is a rather Genesis-like affair, but Spectral Mornings, his first solo album after leaving Genesis is a more original work.
Spectral Mornings reflects Hackett's interest in various styles of music, from classical to Cantonese koto music. There is even a little of Steve's own brand of space/prog rock on here. Each track is different, so this is a very diversified album.
The best tracks on this album are definitely the instrumentals. "Clocks - the Angel of Mons" is an excellent sort of creepy space rock tune loaded with Mellotron and ominous Taurus pedal melodies. The title track is a nice bittersweet sounding instrumental in which Hackett's shimmering electric guitar melodies take center stage over a dreamy Mellotron backdrop. It's a beautiful track. "Tigermoth" starts out as another dark Mellotron/Taurus pedal instrumental similar to "Clocks," but then suddenly changes to a completely different kind of vocal piece that sounds like a Broadway tune. This is typical of Hackett's solo work. You never really know what's going to happen next, whether it be from album to album or within a single song.
Another good instrumental is "Lost Time in Cordoba." This is a very nice classical guitar/flute duet. It's an odd track, however, because the entire piece has some sort of aural haze placed over it, which makes it sound a little strange. It's almost as if it was made to sound like it came from a very old record.
There are a couple more songs on this album which are quite pleasant, but not extremely interesting. There's not a bad track on here, though. The entire album is completely listenable.
Anyone who gets goose bumps from Hackett's wonderfully emotional guitar solos - especially on Seconds Out - should buy this album.




Spectral Mornings (1979)

After listening to this album, it seems to make much more sense why Steve left Genesis. Borrowing from many different influences, including British folk, Latin music as well as the Orient, it's obvious that Hackett's creativity was being stifled by the emergence of what would become the keyboard-driven, dance/pop vehicle of the 80s known as Genesis.

The first 30 seconds of "Every Day" sound like they belong on Duke, but after that, the song becomes more 'Hackett'. The bass line is very reminiscent of Mike Rutherford's playing, and while the song has a traditional Genesis feel, the emphasis is placed on guitar rather than keyboards. "The Virgin and The Gypsy" is a wonderfully mellow classical guitar piece with a distinct British folk feel, based around enchanting vocals and flute accent. "The Red Flower of Tachai Blooms Everywhere" is a delicate instrumental, and as the title implies, is in the oriental vein. The next piece is the heaviest and darkest on the album (along with "Tigermoth"). "Clocks - The Angel of Mons" has a massive symphonic sound, featuring a pounding drum solo, as well as some interesting 'ticking clocks' sound effects. "The Ballad of the Decomposing Man" is a tune somewhat similar to "The Battle of Epping Forest", with its blue collar subject matter and light-hearted feel. A very mellow and haunting instrumental, "Lost Time in Cordoba" features brother John Hackett on flute, alongside a classical, acoustic-based approach from Steve. The first half of "Tigermoth" continues where "Clocks..." left off, while the latter half lyrically deals with the plight of a fighter pilot who gets shot down. The title track is an excellent ending to a varied album, and is one song that can be described easily by its title. All in all, Spectral Mornings is excellent effort. With the exception of the first song, Steve has successfully started to develop a distinct style away from that of his days in Genesis . - Mike Prete [2000]



1. Every Day
2. Virgin and the Gypsy
3. Red Flower of Tachai Blooms Everywhere
4. Clocks-The Angel of Mons
5. Ballad of the Decomposing Man
6. Lost Time in Cordoba
7. Tigermoth
8. Spectral Mornings

Steve Hackett - Vocals, Guitar, Keyboards
Peter Hicks - Vocals
John Shearer - Drums
Dik Cadbury - Bass
John Hackett - Flute, Keyboards
Nick Magnus - Keyboards, Synthesizer

Charisma Records - CAROL 1862-2 - 1989