Customer Reviews

Till We Have Faces

5 star:		(3)
4 star:		(3)
3 star:		(1)
2 star:		(0)
1 star:		(3)

 

 

Following an acoustic album, "Bay Of Kings", see my review, Steve Hackett kept us guessing with this offering. Although not a favourite of mine it does have some high points. Recorded in Brazil, with I believe mostly local musicians, Steve seems to be unsure where this is going and the drums are very much to the forefront, although he clearly intended this. Standout tracks are "Let Me Count The Ways", a bluesy number, not really revisited until "Blues With A Feeling" some years later. "The Rio Connection" and "Duel" which chugs along and certainly recalls the Spielberg film which it is dedicated to. Tracks like "What's My Name" and "Myopia" don't really go anywhere for me, and the closing track "When You Wish Upon A Star" the Disney standard is very pleasant, but seems out of place on this album. A bit of a hit and miss affair, but one has to say that the musicianship is excellent as always on a Hackett album.

This CD has been remastered and two new songs have been added. The sound quality is greatly increased. Recorded in Rio, with local artist, it fuses incredible electric guitar with a Brazillian Carnival flavor. The bonus tracks are several years newer, but fit right in, and are an absolute must for any Hackett fan. Also, two of the original tracks have been extended. Compared to other Hackett CD's, this one is definitely above average.

Then you should listen to "Myopia." A percussionist? Check out "What's My Name" and "The Rio Connection." Blues guitarists should take in "Let Me Count The Ways." And for anyone who remembers lullabys, drift off to "Taking The Easy Way Out." This album has many different forms, all stirred with a latin feel. Very original for its time and it still holds up well. It's great fun.

This is one of the best albums out there. From the blues of "The Rio Connection" and "Let Me Count The Ways" to the other-worldly "What's My Name," you can't guess what the next song is going to be like. The best ones are "Myopia" (which combines Heavy Metal with a splash of J.S. Bach's Brandenburg Concerto) and "A Doll That's Made In Japan," which almost takes you across the Pacific with its Oriental feel. Like Brazilian drums? Check out "Matilda Smith (Williams, Home For The Aged)." There is about four minutes worth, mixed in with a monologue of Steve's guitar and "Camino Royale" from the "Highly Strung" album. A thouroughly imaginative creation.

Rarely do I qualify a review, but for this CD, it's a must. I am a musician who has been a terriffic fan of Genesis--particularly Banks and Hackett, to include Steve's prolific solo career. It is crystal clear that Steve Hackett is one of the real gems of modern music. His craftmanship is to gawk at, even his early work with Genesis on stage, sitting on his stool in a professorial repose--playing that intrepidly wrought haunting acoustic-sensitive dynamic, poker faced--sporting that goofy goatee and those nerdish black horn-rimmed eye glasses that conjure visions of Sigmund Freud after having lectured at a neuropsychiatric conference in Vienna, or even Austin Powers laying in an alley after a two week bender.

I recall fondly Hackett's post-Genesis solo show at the Tower Theatre in Philly--I was in the second row at center stage, basking in resplendant bliss as the dude started the show with just the acoustic on a stool in ambient room light--sans beard and sans bravado--cruising right into the first teaser of the night, a somewhat slower and more intense version of "Horizons." Oh MAN!

I love great music and my mind is wide open to all that lies in the entire audible range that is innovative, unique, distinct, and bizarre--but I do not get "Til We Have Faces." My menagerie of Steve Hackett CDs runneth over and I consider it a collecter's set. That is the ONLY reason that I have not winged that CD out of my window like a Frisbee, to be used as a skeet target. The experience of listening to this CD for the first time is probably similar to the feeling one might get while watching a US Air Force air show,during which one of the F-14's suddenly stops in mid air and then drops to the ground in a horrendous explosive crash. I sat in grieving disbelief at the first listen. I listened one more time before I laid the corpse to rest.

While I believe that enhancing this morose aberration is tantamount to removing kernels of corn from petrified yak excrement, I respect those who differ with my opinion. That is what makes music so great--it doesn't matter what other people say, as long as it moves the listener, it's worthwhile. In this case, I neither like it or even get it. That said, given Steve Hackett's track record for producing utter greatness, I consider this one particular effort a mere hiccup in what is otherwise--both qualitatively and quantitatively, an incredible body of musical work of which any artist from any era could be proud.

First acquainted with this album, from the original vinyl release, I find that it has aged remarkably well. Some of these songs are more original than what passes for original now.

"What's My Name" is incredible. Conjures up images of a world weary immortal, having seen so much and forgotten so much as well. I hesitate to relate it to Highlander, because there is nothing Scottish about it, but it has the same tiredness of that character, or Barry Sadler's novels of Casca. Atmosphere and intricacy. Artful.

"Myopia" is a better song than some reviews would lead you to believe. It was, and is, a moving rock song, with accomplished playing.

The lyrics for "Duel" are admittedly weak, but the song is short and catchy otherwise. Inspired by the film of the same title.

"Mathilda Smith" is a prime example of the kind of wit that occurred in late 70's Genesis lyrics. The song structure is atypical, ending with an instrumental build then falling action, meant to symbolize the escape of the bored shut-in seniors from their home and back into the world. Hackett isn't the only star of this peace, letting the rest of the musicians get in some musical contribution.

The other songs may be hit and miss for some, depending on mood. This is a mixed album, but that is the strength of the work. Regular rock, prog-rock, some reserved and mellow playing, electric and subtle-acoustic sounding depending on the tracks you listen to. It has aged well in my opinion, and with new tracks should be worth purchase on disc.

I knew nothing of Steve Hackett beyond the Genesis albums Trick of the Tail and Wind of Wuthering when I bought 'Til We Have Faces on cassette back in 1987, and I had no idea what to expect. "Duel" was the opening track on that version, and I was floored. Hokey lyrics, absolutely, but the music . . .! Wild, agressive, full of more energy than I had ever thought possible. "Matilda Smith," more of the same. It was two years before I so much as saw another Steve Hackett album, but when I did I bought three sound unheard on the basis of TWHF and never regretted it. True, this album is not perfect (no album with "Taking the Easy Way Out" on it could be), but it is extremely enjoyable and lots of fun, even 14 years after I first heard it.

Then you should listen to "Myopia." A percussionist? Check out "What's My Name" and "The Rio Connection." Blues guitarists should take in "Let Me Count The Ways." And for anyone who remembers lullabys, drift off to "Taking The Easy Way Out." This album has many different forms, all stirred with a latin feel. Very original for its time and it still holds up well. It's great fun.

I love the adventurous spirit of Mr. Hackett, and he threw plenty of well-intentioned ingredients into the beaker here. Unfortunately this 1984 concoction blew up in Steve's face and never should have left the lab. From the faux-heavy-metal "Myopia" to the half-baked blues of "Let Me Count The Ways", Hackett is all over the map here, groping in songcraft oblivion without ever finding the lightswitch.

Deciding to record this album in Brazil, Steve splices in some fine Brazilian percussion on a few cuts. The trouble is, he forgot to write decent material around it. "Matilda..." uses a barely-altered version of the "Camino Royale" (from 1983's _Hightly Strung_) melody to tell a storyabout an old folks' home. Then he tacks a few minutes of Brazilian percussion are tacked onto the end. Does it all sound a bit too esoteric, unamusing, and lacking in direction? Well, that's the only conclusion I can draw.

About the only bright spot here is the laid-back "Taking The Easy Way Out" where Steve finally (after nearly a decade of placing himself out of his depth) finds his vocal niche and turns in a respectable performance. However, not even his drummer - Ian Mosley, pre-Marillion - could dissuade Steve from marring the rest of the album by achingly straining his limited pipes. In addtion to the original mish-mash found on the LP, some nebulous mid-80s bonus tracks augment this re-ordered, remixed CD release. Incidentally, they are indulgent and plodding enough that they only add to the overall impression of the album as a creative fiasco.

I began this review on a brief positive, so I'll do the same to end it. If you want a perfect example of a boldly eclectic album from Steve Hackett that succeeds everywhere that _Faces_ fails, pick up his well-conceived, lovingly crafted 1999 release _Darktown_.

Rarely do I qualify a review, but for this CD, it's a must. I am a musician who has been a terriffic fan of Genesis--particularly Banks and Hackett, to include Steve's prolific solo career. It is crystal clear that Steve Hackett is one of the real gems of modern music. His craftmanship is to gawk at, even his early work with Genesis on stage, sitting on his stool in a professorial repose--playing that intrepidly wrought haunting acoustic-sensitive dynamic, poker faced--sporting that goofy goatee and those nerdish black horn-rimmed eye glasses that conjure visions of Sigmund Freud after having lectured at a neuropsychiatric conference in Vienna, or even Austin Powers laying in an alley after a two week bender.

I recall fondly Hackett's post-Genesis solo show at the Tower Theatre in Philly--I was in the second row at center stage, basking in resplendant bliss as the dude started the show with just the acoustic on a stool in ambient room light--sans beard and sans bravado--cruising right into the first teaser of the night, a somewhat slower and more intense version of "Horizons." Oh MAN!

I love great music and my mind is wide open to all that lies in the entire audible range that is innovative, unique, distinct, and bizarre--but I do not get "Til We Have Faces." My menagerie of Steve Hackett CDs runneth over and I consider it a collecter's set. That is the ONLY reason that I have not winged that CD out of my window like a Frisbee, to be used as a skeet target. The experience of listening to this CD for the first time is probably similar to the feeling one might get while watching a US Air Force air show,during which one of the F-14's suddenly stops in mid air and then drops to the ground in a horrendous explosive crash. I sat in grieving disbelief at the first listen. I listened one more time before I laid the corpse to rest.

I respect those who rendered positive reviews for this CD. That is what makes music so great--it doesn't matter what other people say, as long as it moves the listener, it's worthwhile. In this case, I neither like it or even get it. That said, given Steve Hackett's track record for producing utter greatness, I consider this one particular effort a mere hiccup in what is otherwise--both qualitatively and quantitatively, an incredible body of musical work of which any artist from any era could be proud.