Liverpool Sound and Vision Rating 9/10
There is within us all, a darkness which we must allow breathing space, the excitement and temptation of a future life that comes from highlighting and the re-evaluation of the past. When that moment itself becomes part of history, the need for reconsideration can be a powerful tool of both regret and equal contentment, the dichotomy of reason is uncontained as once more you are compelled to revise your appreciation of the light, and the Darktown where you first unwrapped all your feelings.
What was the former Genesis guitarist’s 14th solo studio album is in retrospect, as it receives a timely reissue on vinyl, a recording of inflamed suspense, a tale of a man who had perhaps been overlooked by the greater music crowd as they fell in line with Phil Collins and Peter Gabriel’s own prestigious work, and Mike Rutherford’s increasing presence in the charts via his own vehicle of Mike and the Mechanics.
While the whole of the band’s separate work is phenomenal in itself, there is a feeling amongst some of the fans that Steve Hackett was often overlooked, perhaps passed by the larger media, and yet if we are to be honest, it is within the guitarist’s body of work that the listener understands that much of what Genesis was within the classic period is down to the temperament and imagination, let alone skill and guile, of Mr. Hackett.
Darktown is no exception. The album is a furious example of persuasion becoming truth, a background of themes culminating in the artist’s reveal of his soul during a period of re-examination of his craft, of dare it be said, his offering to human passion.
From the outset, Mr. Hackett’s set of songs are distinctly explosive, they are moments stretched out into the fantastic and the unreal, authoritative and passionate, disturbing and utterly charming, and as Omega Metallicus gives way to Man Overboard, The Golden Age Of Steam, the stream of conscious feel that inhabits Dreaming With Open Eyes and Twice Around The Sun, the sublime Jane Austen’s Door, and the album title track, Darktown, what becomes clear that as the 90’s may have felt as though they belonged to his former band mates, in truth, as each song manifests itself as a tale of relatable enquiry, Steve Hackett was more than willing to continue pushing the realm of exploration in ways that are absolutely unique.
Darktown also benefits from the relationship that began building with Roger King within the team, and with others making a huge contribution, including Jim Diamond on vocals, Aron Friedman on piano and keys, and bass samples from the late, great John Wetton, what is presented is an album of independent spirit, that the re-evaluation that was almost inevitable after the artist’s sojourn into his relationship with the Blues and with the seismic modern interpretations of Genesis’ more classic songs, was one of timely perfection. Scintillating, boundless, extraordinary, album and artist down to a tee. Ian D. Hall