Author: Peter Podbrežnik
Artist: Hackett, Steve
Label: Virgin Records
Release: 1975
Rating: 5/5
The brilliant, and until then rather enigmatic, guitarist Steve Hackett became the first member of Genesis to go solo, and right out of the gate he proved to the music world that he was far more than just a guitar virtuoso. Steve is an incredibly complex musician: a top-notch composer and guitarist, and his contribution to Genesis was undoubtedly one of the key factors in their success. With his varied palette of electric and acoustic guitar techniques and an instantly recognizable sound, he etched himself forever into the fondest memories of classic Genesis fans. But he only really found his clearer voice, the one that cemented his status as a musical innovator, when he started his solo career in 1975, while still a member of Genesis. So it’s no surprise that his first solo album is a hugely successful blend of different musical palettes and guitar techniques, with the ethereal, symphonic flavor that Genesis nurtured in their best days.
Most of the songs, unsurprisingly, sound a lot like Steve’s work with Genesis, which means the album is dominated by first-rate symphonic prog rock. On top of that, there’s an intensely esoteric vibe running through most of it, which also makes sense, since “Voyage of the Acolyte” has a rather unusual source of inspiration, the kind that often marks great works of art. Every song on the album is inspired by a single tarot card, representing a particular message or a person’s fate in life. Tarot was obviously a big deal in Steve’s life at the time. All the “wizards” and “witches” out there will probably be able to untangle the cards and connect their meanings to the music. Steve gathered top-class musicians around him, including the brilliant Genesis rhythm section, meaning the superb drummer (and good singer) Phil Collins and bassist Mike Rutherford. Neither needs any introduction. Add to that a few more excellent players that most symphonic prog rock fans will recognize right away. True to the Genesis tradition, the songs vary wildly in both structure and sound. Even so, “Voyage of the Acolyte” is a thoroughly authentic and distinctive Hackett creation, and any talk of a “lost” Genesis album comes across as unrealistic.
The album opens with the breathtaking, frenetic “Ace of Wands”, where Hackett vividly shows off some of his most complex guitar moves. With stellar help from his brother John on flute (his playing is far more aggressive than what Peter Gabriel used to do) and top-notch drumming from Collins, Steve weaves in his guitar passages with great inventiveness. The solid foundation of Rutherford’s bass and the bells add even more intensity to this first-rate composition. The song keeps changing tempo radically and sounds incredibly energetic most of the time, even aggressive at moments. On “Hands of the Priestess Part I” the flute dominates, along with Steve’s mysterious, ethereal guitar style, which he often used with Genesis, though here in a completely different way. A gentle melody that calms the album’s tempo nicely and creates a lull. Because when lightning suddenly strikes the infamous tower, a fateful change follows and the end of an era arrives. And that’s exactly what happens in the chaotic, King Crimson-esque “A Tower Struck Down”, a composition unlike anything Steve had shown with Genesis up to then, and one where he reveals his darker side. Through this aggressive, chaotic piece runs Rutherford’s first-rate bass line (Percy Jones adds his own bass too) along with Steve’s unique solos, all kinds of “explosion” sound effects (at one point someone even coughs) and eerie-sounding mass chanting that drives the aggressive mood to its peak. After the chaos comes a beautiful closing passage on the Mellotron that completely settles the tense atmosphere. Next comes “Hand of the Priestess Part II”, which is even gentler than the first part. An extremely short piece that still, mostly through keyboards and flute, builds an intense atmosphere blending mystery and melancholy. On the mysterious and melancholic “The Hermit”, where you can feel the hermit’s enigmatic gaze, Steve shows off his mastery of the acoustic guitar for the first time, along with his singing talent, which, to be honest, is fairly average, but still decent and fits the melody. Then comes one of the album’s peaks, “Star of Sirius”, a rather complex song that truly sounds like some forgotten Genesis classic. It certainly helps that none other than Phil Collins sings on it, who had just taken over the vocals in Genesis around then. He does a great job, and it’s especially nice that this time he doesn’t try to sound like Peter Gabriel (as he did at the start of his singing days with Genesis). The superb rhythm section, which keeps changing the tempo throughout, does its part too, and the flute and keyboards are outstanding. The transitions are especially great, creating a first-rate jazzy climax through the keyboards and rhythm section, with Steve’s guitar forming a wonderfully melodic bed (his playing of the electric guitar in an acoustic manner is particularly impressive). The mysterious yet bright mood never lets up. I’ll also say this about “Star of Sirius”: it’s the best Genesis song not recorded under the Genesis name (the album simply lacks Tony Banks, the backbone of Genesis), and one of Hackett’s greatest masterpieces. The song carries an extremely positive message, and that’s exactly how it feels to listen to it. Another shorter piece follows, “The Lovers”, which, as expected, is built on a gentle acoustic guitar melody that prepares the listener for the grand finale. Because what follows is the most majestic piece on the album, marked by a mighty mysticism that adorns this magnificent epic. “Shadow of the Hierophant” is a real treat for all fans of top-class symphonic progressive rock. There’s no true fan of the genre who wouldn’t get goosebumps the first time they hear this song. In the best tradition of Genesis and early King Crimson, mostly through extensive use of the Mellotron, Steve managed to unite epic grandeur, Celtic mysticism and beauty in perfect harmony. The composition is distinguished by a wonderfully successful fusion of layered soundscapes created by the Mellotron and the perfectly fitting, high yet pure and melancholic female operatic vocals of Sally Oldfield, sister of the great Mike Oldfield. The mood of the song is intense from start to finish and full of Celtic melody (when I listen, I usually have a choir of druids in my head the whole time), helped along by the excellent interplay between instrumental sections and operatic vocals. While the operatic vocals and Steve’s guitar sections keep calming the mood, the Mellotron always builds a hugely dramatic atmosphere and eventually carries the piece to its dramatic climax and finish. With his superb command of the Mellotron (only early King Crimson and classic Genesis mastered this instrument to such a degree in the genre), Steve proves what a versatile musician and composer he is. “Shadow of the Hierophant” is one of Hackett’s best works, sits right at the top of the genre, and is the perfect way to close this excellent and flawless album. The brilliant cover art certainly adds to the album’s excellence and extra mystical effect too. It reflects its essence and was reportedly even chosen as cover of the year. Like the covers of most of his later works, this one was the creation of Steve’s wife Kim Poor.
With the latest reissue, “Voyage of the Acolyte” also got two bonus tracks: a live version of “Ace of Wands” and an extended version of “Shadow of the Hierophant”. In my opinion both additions are slightly unnecessary (as on all similar masterpieces that make up a perfectly rounded whole). What matters more is that the sound of the individual songs has improved even further and become even cleaner, though for collectors it’s sometimes fun to hear a rare version of favorite songs too.
“Voyage of the Acolyte” is one of the best debut solo albums by any (prog) rock musician ever, and therefore without a doubt belongs among the best albums of its genre. It’s extremely rare for a first album to be a masterpiece, but Hackett’s first solo album is exactly that. At the same time, “Voyage of the Acolyte” was only the prelude to a string of superb Hackett albums that this great artist has created over the years. While Genesis gradually lost their essence through creeping commercialization, Hackett became a new source of excitement, the one classic Genesis fans started turning to. That’s why every fan of this kind of music, of classic Genesis and of symphonic prog rock should on no account go without this classic. Despite the strong discography Hackett has built up to now, “Voyage of the Acolyte” still remains his most magnificent work, one that can stand shoulder to shoulder with the Genesis albums of the second half of the ’70s, and so it deserves the highest possible rating.
Lineup
Steve Hackett – electric & acoustic guitar, Mellotron, harmonium, bells, autoharp, vocals (5), effects
John Hackett – flute, ARP synthesizer, bells
Mike Rutherford – bass guitar, bass pedals, fuzz 12-string
Phil Collins – drums, rhythms, percussion, vocals (6)
John Acock – Elka Rhapsody, Mellotron, harmonium, piano
Sally Oldfield – vocals (8)
Robin Miller – oboe, cor anglais
Nigel Warren-Green – solo cello
Percy Jones – additional bass on “Tower”
Johnny Gustafson – bass on “Star”
Steve Tobin – parrot and cough
Production
Steve Hackett and John Acock
Tracklist
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)
Album length: 40:52
