Steve HACKETT

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Steve HACKETT

Voyage Of The Acolyte - 1975 Voyage Of The Acolyte

1975
1. Ace Of Wands
2. Hands Of The Priestess, Part I
3. A Tower Struck Down
4. Hands Of The Priestess, Part II
5. The Hermit
6. Star Of Sirius
7. The Lovers
8. Shadows Of The Hierophant

Steve Hackett - Guitar (Acoustic), Guitar, Autoharp, Guitar (Electric), Harmonium, Keyboards, Sound Effects, Vocals, Bells, Mellotron
John Acock - Piano, Harmonium, Keyboards, Mellotron, Elka
John Hackett - Flute, Keyboards, Bells, Arp
Percy Jones - Bass
Robin Miller - Oboe, Wind, Cor Anglais
Nigel Warren-Green - Cello
Nigel Green - Cello
Mike Rutherford - Bass, Guitar (Bass), Guitar (12 String), Bass Pedals
John Gustafson - Bass
Phil Collins - Percussion, Drums, Vocals, Vibraphone
Steve Tobin - Sound Effects
Sally Oldfield - Vocals
Steve Hackett - Producer
John Acock - Producer, Engineer,
Paul Watkins - Assistant Engineer
Louie Austin - Assistant Engineer
Kim Poor - Paintings

Please Don't Touch

1978
1. Narnia
2. Carry On Up The Vicarage
3. Racing In A
4. Kim
5. How Can I?
6. Hoping Love Will Last
7. Land Of A Thousand Autumns
8. Please Don't Touch
9. The Voice Of Necam
10. Icarus Ascending

Steve Hackett - Electronic And Acoustic Guitars, Keyboards, Percussion, Vocals
Richie Havens - Vocals
Steve Walsh - Vocals
Randy Crawford - Vocals
Dave Lebolt - Keyboards
John Acock - Keyboards
Chester Thompson — Drums, Percussion
Phil Ehart - Drums, Percussion
James Bradley — Percussion
Richie Havens
John Hackett - Flutes, Piccolos, Bass Pedals, Keyboards
Tom Fowler - Bass
Graham Smith - Violin
Hugh Malloy - Cello
Produced by John Acock and Steve Hackett
Recorded at (studios) Cherokee - Kingsway
Record Plant — De Lane Lea
Engineered by John Acock
Assisted by Chip - Rob - Mark & Rafe
Kim Poor - Cover Illustration
Sleeve Design - Kim Poor & A.D. Design
John Brown - Cover Photography
Armando Gallî - Inside Sleeve
Special Thanks to:
John Hackett for immeasurable assistance and guidance
Gail Colson and Russ Shaw for unceasing moral support
Dale Newman & Dan Owen for equipment and Guest Vocals on 'Icarus Ascending'.
Maria Bonvino (Guest Female Soprano on 'Hoping Love') and EMU Keyboard Systems
Also Starring
Necam - The Computer
Computer Assisted Mix Down, Manufactured by Neve of Royston
The Robert Morton Pipe Organ (Since destroyed by fire at the Record Plant L.A.)
Automata & Mechanicals c/o Jack Donovan

Spectral Mornings

1979
1. Every Day
2. The Virgin And The Gypsy
3. The Red Flower Of Tachai Blooms Everywhere
4. Clocks
5. Ballad Of The Decomposing Man
6. Lost Time In Cordoba
7. Tigermoth
8. Spectral Mornings

Steve Hackett - Guitar, Keyboards, Vocals, Producer
Nick Magnus - Synthesizer, Keyboards
John Hackett - Flute, Keyboards
Dik Cadbury - Bass
John Shearer - Drums
Peter Hicks - Vocals
Produced by John Acock & Steve Hackett
Steve Hackett Music Ltd.
Original Sound Recording Made by Charisma Records Ltd.
® 1989 Virgin Records Ltd.
© 1979 Charisma Records Ltd.

Defector

1980
1. The Steppes
2. Time To Get Out
3. Slogans
4. Leaving
5. Two Vamps As Guests
6. Jacuzzi
7. Hammer In The Sand
8. The Toast
9. The Show
10. Sentimental Institution

Steve Hackett - Guitar, Vocal, Optigan, Roland GR 500
Nick Magnus - Keyboards
John Hackett - Concert and Alto Flute
John Shearer - Drums & Percussion
Dik Cadbury - Bass, Vocal
Pete Hicks - Vocal
Produced by John Acock / Steve Hackett
All Tracks Written by Steve Hackett
except 10 (Steve Hackett / Peter Hicks)
Original Sound Recording Made by Charisma Records Ltd.

Cured

1981
1. Hope I Don't Wake
2. Picture Postcard
3. Can't Let Go
4. The Air-Conditioned Nightmare
5. Funny Feeling
6. A Cardle Of Swans
7. Overnight Sleepert
8. Turn Back Time

Steve Hackett - Guitar, Keyboards, Vocals
John Hackett - Flute, Keyboards
John Acock - Keyboards
Nick Magnus - Synthesizer, Keyboards
Kim Poor - Vocals
Steve Hackett - Producer, Publishing
John Acock - Producer, Engineer
Nick Magnus - Producer
All Tracks Composed by Steve Hackett
except * Steve Hackett / Nick Magnus + Steve Hackett / Kim Poor
Published by Steve Hackett Music Ltd. / Chappell Music Ltd.
Original Sound Recording made by Charisma Records Ltd.
® 1989 Virgin Records Ltd.
© 1984 Charisma Records Ltd.

Highly Strung

1982
1. Camino Royale
2. Cell 151
3. Always Somewhere Else
4. Walking Through Walls
5. Give It Away
6. Weightless
7. Group Therapy
8. India Rubber Man
9. Hackett To Pieces

Steve Hackett - Guitar, Vocals
Nick Magnus - Keyboards & Devices
Nigel Warren-Green - Cello
Chris Lawrence - Contrabass
Ian Mosley - Drums
Produced by Steve Hackett & John Acock
Creative Engineering & Good Vibes from John Acock, Rafe McKenna & Brad Grisdale.
Assisted by Bob Kraushaar
Recorded in London at Berry Street Studios, Marcus Music & Redan Recorders
Mastered by Kevin Metcalfe at Utopia Studios, London
"Cell 151" Recorded February 1982.
"Walking Through Walls", "Camino Royale" & "Always Somewhere Else" Recorded May 1982.
"Group Therapy" Recorded August 1982.
"Give It Away", "Weightless", "India Rubber Man" & "Hackett to Pieces" Recorded October & November 1983
Special Thanks to Linda Harris at Company Headquarters
Equipment: Neil Biscoe & Ged Fitzpatrick
Steve's Equipment: Ovation UK II, Les Paul, Stratocaster, Giffin. Marshall 100w & 50w Amps, Pete Cornish Pedalboard, Echoplex, Energy Bow, Slide, Hohner Harmonica
Nick's Keyboards: Jupiter 8, Memory Moog, Steam Piano, Moog Source, Mini Moog, Korg CX3, Vocoder Plus, Emulator, Rhodes, Harpsichord, Prophet 5, Linn LM1
Ian's Drums: Yamaha with Evans heads

Momentum

1988
1. Cavalcanti

An old family name related to the love of horses.
I used a triplet figure as it gathers pace which,
when played, actually looks like a galloping horse.
Martin Carthy was the first person who showed me this on guitar using the thumb,
forefinger and second finger. I had to practise this movement a lot to get it right,
but it still reminds me of a galloping horse everytime
2. The Sleeping Sea

A descending sequence, one of my favourites on the album, using 'Moorish' harmonies. Slightly dissonant, but necessary to lead you to a very murky place. I imagined predators in their element at the bottom of the sea at night. After I'd heard Debussy's The Sunken Cathedral I decided to end with the sound of a bell intoning
3. Portrait Of A Briazilian Lady
Very Brazilian harmonies here, very unhurried. A portrait of Kim's grandmother hangs in the house at Petropolis - sometimes it seems to be sad, but when you look at it from a distance for a while the mouth seems to dart into a smile. A capricious free spirit -Vovo Nina!
4. When The Bell Breaks
A tremolo piece similar to many guitar studies where the top line is played with three fingers and the bass notes with the thumb. A Flamenco technique that gives the impression of two guitars playing instead of one - again a very 'watery' effect - or the guitar doing an impression of a mandolin
5. A Bed, A Chair And A Guitar
When I was growing up Dad thought that I would be happy if all I had in life was a bed, a chair and a guitar. I've got a bit more furniture now, Dad, and a few more guitars - but he'd sussed my teenage priorities! There's a traditional piece I first heard played by Bert Jansch called Nicola which starts off this little trilogy in classical style, then folk and finally jazz
6. Concert For Munich
This one's dedicated to Tony Stratton-Smith who originally commissioned it for a film about the Manchester United football team who fought their way back to the top against all expectations. Tony was a man governed by his passions, but was able to inspire many musicians during his lifetime - a true patron of the arts. It would take a book to cover all his activities as author, journalist, record company boss and friend. God bless you, Tony!
7. Last Rites Of Innocence
There's a logic to baroque music that makes it stick very closely to form, almost like an unbroken dance - that's the main influence here. I tried also to highlight the degree of independent bass lines possible whilst playing the top strings, much the same as with a string trio or quartet
8. Troubled Spirit
The full message was "troubled spirit, there are many victories ahead". I 'heard* a spirit message which helped me through one of my darkest moments. Musically, it starts in turmoil, then is transformed into pure joy at the personal realisation that we exist only by the grace of something approaching Divine Will. I've never been truly depressed since
9. Variation On A Theme By Chopin
Sometimes I try to play the guitar in a pianistic style and it's Chopin I think of when the piano is used at its best - underplayed, gentle and melancholic
10. Pierrot
This was the first thing recorded for this album. I imagined the single-reared clown as a doll ... a child believing her doll could dance
11. Momentum
This was the last thing written for the record on its original release - Spanish influence all the way
12. Bouree
This fabulous piece shows why Bach is still an unbeatable bass player and the most fluent of all chordsmiths
13. An Open Window
This was written just a little too late to be included on Momentum at the time of its first release, but I'm glad it can join the rest now - a latecomer, but well worth the wait. I didn't set out to write such a long piece. I just found that there was a lot to say with a piece that kept demanding a change of pace
14. The Vigil
This is very much in a Venetian style and for me conjures the warmth of candlelight ( dedicated to Louise Wheeler )

Steve Hackett - Guitar
John Hackett - Flute
Produced by Steve Hackett and John Acock and Recorded and Mixed by John Acock
except 'Bouree', 'An Open Window' and 'The Vigil' ( Mixed by Billy Budis );
Mastered by Ian Anderson at Battery
Cover 'Momentum'by Kim Poor ©1987
Design and Layout by Lippa Pearce, with thanks to Harry Pearce
Photography Richard Foster
For Kim - The most beautiful girl in the world - keep painting the light!

Feedback 86

2000
1. Cassandra
2. Prizefighters
3. Slot Machine
4. Stadiums Of The Damned
5. Don’t Fall
6. Oh How I Love You
7. Notre Dame Des Fleurs
8. The Gulf

Steve Hackett - Guitar (1-8), Vocals (1-6), Harmonica (5)
Brian May - Guitar (1, 3), Vocals (3)
Nick Magnus - Keyboards (1, 3-5, 8), Piano (6), Virtual Drums (3-5, 8)
Pete Trewavas - Bass (1)
Ian Mosely - Drums (1)
Chris Thompson - Vocals (1-3, 5, 6)
Bonnie Tyler - Vocal (2)
Terry Pack - Bass (2)
The Phil HENDERSON ORCHESTRA (Arranged by Phil Henderson)
All Tracks Written by Steve Hackett ©1986 Stephen Hackett Ltd.
except "Slot Machine" Written by Steve Hackett and Brian May © 1986 Stephen Hackett Ltd. / Queen Music Ltd.
and "Prizefighters" Written by Steve Hackett and Steve Howe ©1986 Stephen Hackett Ltd. / Boundmere Ltd.
Brian May appears by kind courtesy of EMI Records and Queen Productions Ltd.
Bonnie Tyler appears by kind courtesy of CBS Records
Produced by Steve Hackett
'Slot Machine' produced by Steve Hackett and Brian May
Cover Painting: "Blood On The Rooftops" by Kim Poor. © 1987 Kim Poor.
For further information Kudos Management Crown Studios 16-18 Crown Road Twickenham TW1 3EE UK
www.stevehackett.com

Guitar Noir

1993

1. Lost In Your Eyes
2. In The Heart Of The City
3. Sierra Quemada
4. Vampyre With A Healthy Appetite
5. Take These Pearls
6. Little America
7. There Are Many Sides To The Night
8. Walking Away From Rainbows
9. Like An Arrow
10. Dark As The Grave
11. Paint Your Picture
12. Tristesse

Steve Hackett Vocals (1, 2, 4-6, 8-11), Guitar (1-12), Harmonica (1, 4, 6), Keyboards (9), String Anangement (9), Stepp & Noises off (7), Stepp (8), Stepp & Rainstick (11), Backing Vocals (6, 11)
Julian Colbeck - Keyboards (1, 3, 4, 6), Backing Vocals (6)
Aron Friedman - Keyboards (5, 10, 12), Programming (5, 10, 12)
Nick Magnus - Keyboards
Nick Sykes - Additional Keyboards
Bimbo Acock - Clarinet
Dave 'Taif' Ball - Bass (1-4, 6)
Hugo Degenhardt - Drums (1-4, 6), Percussion (4), Backing Vocals (6)
Produced by Steve Hackett
Co-produced by: Billy Budis (11)
Co-produced by: Aron Friedman (5, 9, 10, 12)
Recorded by: Gerry 0'Riordan (1), Jerry Peal (2-4), Billy Budis (7, 11), Aron Friedman (9, 10, 12)
Mixed by: Gerry 0'Riordan (1), Jerry Peal (2-5), Billy Budis (3, 7, 11), Aron Friedman (9, 10, 12)
Re-Mastered 1997 by Roger King
Front Cover: Enamel Painting on steel by Kim Poor
Graphics: Reuben Craven-Archer
Colour Photograph by Paul Clark
Black and White Photographs by 0zzie Rizzo
All tracks recorded and mixed in The BASEMENT
Mastered by Ian Anderson at BATTERY
Management: Kudos Music, PO Box II, Twickenbam TWI 2PW
Billy has asked me not to give him special thanks but I will anyway for being more than a manager
Personal Note:
If ever on album was also a love letter
it's this one, addressed to Kim for all ber inspiration,
understanding and sweetness ...
Keep painting the light!

A Midsummer Night's Dream

1997

1. The Palace Of Theseus
2. A Form In Wax
3. By Paved Fountain
4. Titania
5. Set Your Heart At Rest
6. Oberon
7. Within This Wood
8. In The Beached Margent Of The Sea
9. Between The Cold Moon & The Earth
10. Helena
11. Peaseblossom, Cobweb, Moth & Mustardseed
12. Mountains Turned Into Clouds
13. The Lunatic, The Lover & The Poet
14. Starlight
15. Lysander & Demetrius
16. Celebration
17. All Is Mended

Photos by Paul Clark
Plaintive string adagios, trumpet fanfares and, of course, Steve's bewitching performance combine to spin a web of sound that conjures up Shakespeare's dream world.
Unashamedly romantic in inspiration, the word is imbued with a classical elegance and poise: its literary programmer is never intrusive, but lies like a faint mist about the musical structure, lending charm to the view but never obscuring its contours.
Steve Hackett originally came to public attention in the 1970s as a member of the rock supergroup GENESIS, and he has been hailed as the most original and gifted guitarist of his generation. Since leaving the band he has enjoyed a successful and often ground-breaking solo career notable for its stylistic adventurousness.
No stranger to the classical guitar, Steve has thrilled audiences world-wide, selling out the Barbican Hall and playing to a crowd of more than 90,000 in Russia.
In 1992 Steve was the featured soloist in a performance of Vivaldi's Guitar Concerto with the London Chamber Orchestra at the South Bank. This ability to traverse the musical spectrum so successfully has earned him the admiration of both rock contemporaries and leading classical figures such as Yehudi Menuhin.
As Shakespeare himself said, "soft stillness and the night become the touch of sweet harmony" - a sentiment whose truth rings throughout this memorable album.

Darktown

1999

1. Omega Metallicus
2. Darktown
3. Man Overboard
4. The Golden Age Of Steam
5. Days Of Long Ago
6. Dreaming With Open Eyes
7. Twice Around The Sun
8. Rise Again
9. Jane Austen's Door
10. Darktown Riot
11. In Memoriam
Bonus Tracks

12. The Well At The World's End
13. Comin' Home To The Blues

Steve Hackett - Guitars (5), Guitar Handler (1), Lacerated Guitar (2, 12, 13), Ambient (2), Harmonica (2, 3, 13), Narration (2), Seascape (3), Droning Voice (10), Voiceover (11), The Siedlaczek Choir Conductor (3, 11), Davy Jones Locker Guitar (3), Talking Guitar (10), Fernandes Sustainer (10), Thumb Piano (3), Rainstick (3), 12 String (3), Orchestral Simulation (3), Woodwind Modell (4), End Choir (4), Vocal (13), Additional Vocals (4, 8, 9), Slap Echo Guitar (7), Gibson Goldtop Guitar (8), Les Paul Goldtop Guitars (9), Additional Strings (4), Violins Shape (5), Vibrator Through Pickups (6), Bugle Guitar (11), Jazz Tone Guitar (11), Nylon Guitar (11), Chimes (12), Percussion (13)
Roger King - Rhythm Design (1, 7, 9, 10), Guitar Trainer (1), Bass (9, 13), Bass Extractions (2), Strings (11), Keys (2, 9), Seascape (3), Mellotron (10, 11), Marcato String Stealing (10), Choir Hijacking (10), Virtual Drums (11, 13), Piano (13), Programs (13), Effects (13) Drumming (4), Flageolet (4)
Julian Colbeck - Keys (2), Woodwind Modell (4)
Sir Douglas Sinclair - Bass (Twice Removed) (1), Fretless Bass (7)
John Hackett - Flute (6), Pan Pipe (6)
BEATS ‘n’ The HOOD - Loops, Rhythm Design (10)
Ben Fenner - Guitar Trainer (1), Seascape (3), Marcato String Arrangement (4), Keyboards (12), Percussion (12), Bass (12), Programming (12) Children’s Choir Design (4), Mellotron Mk 2 (7), DX7 (7), Organ Particles (7), Drum Post Production (8)
Ian McDonald - Sax (2)
Billy Budis - Cello Line, Bass Guitar (8)
Jerry Peal - Woodwind Modell (4), Bells (4), Additional Strings (4)
John Wetton - Bass Samples
Hugo Degenhardt - Drums
Aron Friedman - Drum Post Production (8), Piano (8), Keyboards (8)
Richard Buckland - Seascape (3)
Mae McKenna - End Choir (4)
Jamie McKenna - End Choir (4)
Jim Diamond - Vocals (5)
All Tracks Written by Steve Hackett and Published by © 1998 Stephen Hackett Ltd.
except "Days Of Long Ago" Written by Jim Diamond & Steve Hackett
Published by © 1991 Diamond Brothers Music & Stephen Hackett Ltd.
Produced by Steve Hackett
Recorded by Roger King (1-3, 7, 9-11), Richard Buckland (3, 8), Ben Fenner (3, 4, 7, 8), Jerry Peal (4, 6, 7), Billy Budis (5)
Mixed by Roger King (1-3, 7, 10, 11), Richard Buckland (3), Ben Fenner (3, 8), Jerry Peal (4, 6), Steve Hackett (4), Billy Budis (5)
Roger King - Post Production (4, 5)
Ben Fenner - Post Production (5)
The rest by Jerry Peal including Bass, Strings and Keys: Windscreen Wipers (6) Jerry’s Citroen (heavy tension) Steve’s BMW (extra slack gauge)
Mastered by Ben Fenner
Portrait of Steve Hackett - Paul Cox
Harry Pearce - Design & Photography

Sketches Of Satie

2000

1. Gnossienne ¹3
2. Gnossienne ¹2
3. Gnossienne ¹1
4. Gymnopedie ¹3
5. Gymnopedie ¹2
6. Gymnopedie ¹1
7. Pieces Froides ¹1 Airs A Faire Fuir I
8. Pieces Froides ¹1 Airs A Faire Fuir II
9. Pieces Froides ¹2 Danse De Travers II
10. Avant Dernieres Pensees Idylle A Debussy
11. Avant Dernieres Pensees Aubade A Paul Dukas
12. Avant Dernieres Pensees Meditation A Albert Roussel
13. Gnossienne ¹4
14. Gnossienne ¹5
15. Gnossienne ¹6
16. Nocturnes ¹1
17. Nocturnes ¹2
18. Nocturnes ¹3
19. Nocturnes ¹4
20. Nocturnes ¹5

Steve Hackett - Guitar
John Hackett - Flute
"Ah,
but there's the beauty ... in the things
he didn't do."
It must have taken me a good ten years to find out who had written a haunting melody I kept humming to anyone who was vaguely musical and when I finally did find out, no-one, not even the French, could tell me what a 'Gymnopedie' was ...I discovered in time that it referred to a frieze of dancers on a Grecian urn...well known to academics perhaps, but to discover it for oneself was all the more powerful. To return to the present, John & I had long talked about a project involving Satie's music. Would it require an orchestra or could we use the full tonal range of our own two favoured instruments to create a sound canvas worthy of the keyboard-based writing? Either way it would be a return to our musical roots when we first became aware of 'Atmospheric' music, brave enough to remain rhythmically static yet all the more poignant precisely because of that 'held-back' quality. There always was a love of music in the family home but not specifically the 'Classical' tradition - I'd say we found our way to this music ourselves without being pushed. For us, Satie was definitely a man ahead of his time. Unlikely modulations abound and the Minimalists were to take from him as would Jazz, and where would 'Ambient' music be without his example? However, transposing from piano comes with its own problems...we felt the original keys were perfect for flute but lay outside the range of guitar...detuning my strings to encompass piano range, I moved my 6th string as much as a whole octave lower than usual to give the often complicated harmonies the fullness of support they needed.
By way of special thanks, the project would not have been possible without Sally Goodworth's original tempo map combined with Roger King's unbelievable patience and concentration during the recording process. I felt like we virtually 'lived' in headphones to the extent that they seemed grafted on like an extra limb (it's possible the Dadaists may have approved the 'look' - much like snorkelling cyclists!)...as unreal as it seemed after hundreds of hours when we occasionally had to come up for air. I swear I couldn't walk a straight line for two months... Finally, all jokes aside, I can't fully describe my delight and joy that the sessions went so well and that the album, long overdue, is now complete. I may be sticking my neck out here but I don't believe John has ever sounded in finer form, he was obviously born to play Satie - as I am sure you'll agree! I hope that you'll be equally captivated, as we were in those early years, by the beauty of one of France's most original composers."
Steve Hackett 18th November 1999

Somewhere In South America

2003

Disc One

1. The Floating Seventh
2. Mechanical Bride
3. Medley
4. Serpentine Song
5. Watcher Of The Skies
6. Hairless Heart
7. Firth Of Fifth
8. Riding The Colossus
9. Pollution
10. The Steppes
11. Gnossienne #1
12. Walking Away From Rainbows
Disc Two

13. Sierra Quemada
14. The Wall Of Knives
15. Vampyre With A Healthy Appetite
16. A Tower Struck Down
17. Lucridus
18. Darktown
19. Camino Royale
20. Intros
21. In Memoriam
22. Horizons
23. Los Endos

Steve Hackett - Guitar & Vocals
Rorger King - Keyboards
Terry Gregory - Bass & Vocals
Rob Townsend - Sax & Flute
Gary O'Toole - Drums & Vocals
105 minutes of concert footage shot at Buenos Aires' Teatro Coliseo on the last South American tour.
The "Somewhere In South America" show includes a wide selection of favourite material from both Hackett and that other band together with several previously unheard songs road tested here for the first time.

To Watch The Storms

2003

1. Strutton Ground
2. Circus Of Becoming
3. The Devil Is An Englishman
4. Frozen Statues
5. Mechanical Bride
6. Wind, Sand and Stars
7. Brand New
8. World
9. Rebecca
10. The Silk Road
11. Pollution B
12. Fire Island
13. Marijuana, Assassin Of Youth
14. Come Away
15. The Moon Under Water
16. Serpentine Song
17. If You Only Knew

Steve Hackett - Vocals, Guitar
Roger King - Keyboards
Rob Townsend - Brass, Woodwind
Terry Gregory - Basses, Vocals
John Hackett - Flute on "Serpentine Song"
Ian McDonald - Sax on "Brand New"
Howard Gott - Violin
Sarah Wilson - Cello
Gary O’Toole - Drums, Vocals
Jeanne Downs - Backing Vocals
Kim Poor - Artwork