Two new studio instrumental tracks round off the album, both of which are competent if unremarkable, "The dealer" being slightly the better. If you ignore the rather uninspired sleeve, and can forgive Hackett for not sharing the album credit more evenly, this is a fine double CD collection, with an enjoyable diversity of source material. As one can expect, the musicianship is fantastic throughout, with a special mention for Ian McDonald's performance on flute and saxophone.
Wetton's voice is warm and passionate, his "Battlelines" being easily one of the highlights of the record and that from somebody who's never been a Wetton fan! His performance on the two KC classics is also quite good, although Lake will always be in a different league.
However, the Hackett-penned instrumental tracks are in no way inferior to these "golden oldies", especially "Shadow of the Hierophant", which opens in style the almost completely instrumental second CD.
This also contains a stunning version of "Los Endos", driven by the powerhouse rythm section of Chester Thompson and John Wetton who remains a great bassist. It's a pity, though, that the beautiful, melancholy "Blood on the Rooftops" is only hinted at. The two studio tracks that close the second CD feature Hackett on guitar and percussion and Iron Friedman on keyboards and programming; they're rather interesting, though not as good as those performed live.
Overall, "The Tokyo Tapes" is surely a recommended listen for every self-respecting fan of '70s prog rock. Another very interesting feature of "The Tokyo Tapes" is that the musicians have taken an alternative path some more than others with each song.
While this is not always a good thing in some cases through out the album it can be interesting to see a different perspective of a song. I have to admit that the live versions of "Firth of Fifth" and "Watcher of the skies" are excellent as is "Ride the Colossus.
Wetton does an excellent job in the vocal department; some of the tracks just don't seem right without the original vocalists however. I don't get why Steve Hackett gets all the credit for this album as there are a bunch of equally reputable musicians at his side who seem to be shoved a side. Anywho, due to many reasons this is probably a four star album but I'm going to settle on three for now.
I'd recommend "The Tokyo Tapes" to all classic prog fans; I guarantee you'll find this mix of proggers quite entertaining. Short and sweet. For me personally, Hackett is a brilliant musician and composer, who was a very key member of Genesis.
During the workshop, I played "Please Don't Touch" tune just to indicate to the prog audience who participated actively at Mario's Place the workshop venue that this tune has a strong historic value for Hackett, I believe.
It's because this song was originally approved by the band during the recording of "Wind and Wuthering" album but. So then. Hackett's composition is for me so unique and he has explored his musical talent not limited to just rock but he also adventured into a blues, jazz and a bit of avant-garde music.
You will find his interpretation of avant-garde music in these tracks. This live album "Tokyo Tapes" has been with me since it was released and by then when I got it, I was not so impressed with this record. The main reason was being the fact that the sound is not like typical nuance of Hackett album. Something strange for me and I did not pay further attention with this record until recently.
I try to spin many more times and forget about the Hackett nuance at all. It helps a lot because by doing so I do not need to expect anything on the sounds of this music at all. That's what I feel. Why liking this album? Different Sound. Oh yes, this was actually the thing that turned me down to further explored this album - because the sound was not exactly what I expected with Steve Hackett. I thought that this album should not be titled under Steve Hackett solo album because I did not find the "soul" of Hackett music in here.
Time went by and by the time I switch my mind by releasing any expectation at all from Steve Hackett, I then can easily enjoy the music this album offers. Even from the start of the album with "Watcher Of The Skies" I can sense how this legendary track by Genesis is being played with modern keyboard sound of Julian Colbeck. This also happens beautifully with "Shadow of the Hierophant" which offers different nuance under this version.
Music Experimentation. This Album) happens wonderfully - to my ears - for tracks with great insertion of avant-garde style. This happens, for example - with "Firth Of Fifth" In a I Know What I Like - Steve Hackett - The Tokyo Tapes (CD I don't like this version until I find its beauty during interlude where this collaboration of genius musicians produce avant-garde style.
I think Ian McDonald's role in this nuance is very critical. This also happens with "Los Endos" where so far I has considered that the version of "Genesis Revisited" album is the best one but now I think this live version is also great.
I especially like when Ian McDonald plays his inventive sax work. It's great! Collaborative Effort of Great Musicians. All of them are performed combining the strengths of each individual musician from other bands. It's very enjoyable to listen to Hackett's guitar interpretation of Robert Fripp's King Crimson unique guitar playing. Chester Thompson is Genesis' drum player I Know What I Like - Steve Hackett - The Tokyo Tapes (CD tour, so he should be familiar with some Genesis tracks.
For my taste, I do not actually enjoy his style of playing at this album. John Wetton plays like how he played with Asia and not in such a way represents his style with King Crimson at all! Why you are NOT liking this album?
If you are newbie to prog or to any of Hackett, Genesis, King Crimson, or Asia music, I do not recommend you to have this album directly. It's too risky for you if you have not listened to the studio albums before. For newbie in prog, you should listen to the studio albums of Steve Hackett, Genesis and King Album) prior to listening to this album.
Don't want improvisation. Wednesday 4 August Thursday 5 August Friday 6 August Saturday 7 August Sunday 8 August Monday 9 August Tuesday 10 August Wednesday 11 August Thursday 12 August Friday 13 August Saturday 14 August Sunday 15 August Monday 16 August Tuesday 17 August Wednesday 18 August Thursday 19 August Friday 20 August Saturday 21 August Sunday 22 August Monday 23 August Tuesday 24 August Wednesday 25 August Thursday 26 August Friday 27 August Saturday 28 August Sunday 29 August Monday 30 August Tuesday 31 August Wednesday 1 September Thursday 2 September Friday 3 September Saturday 4 September Sunday 5 September Monday 6 September Tuesday 7 September Wednesday 8 September Thursday 9 September Friday 10 September Saturday 11 September Sunday 12 September Monday 13 September Tuesday 14 September Wednesday 15 September Thursday 16 September From Wikipedia, the free encyclopedia.
This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Most of the songs differ considerably from their studio versions, either through vastly altered arrangements or extended instrumental sections.
Blues Classical Country. Electronic Folk International. The keyboards are far too "modern" sounding in many places but does seem to sound like a mellotron at times. Thompson's drumming isn't terribly special, even simplifying Watcher of the Skies to sound like some 90s song. The only musician who seems to be really enjoying himself and isn't that boring is Ian McDonald, and it is his performance that makes this enjoyable to watch at all.
Otherwise, the songs aren't that interesting and if they are, the people playing them aren't interesting to watch. And acoustic Heat of the Moment?! The song isn't that great in the first place, and to take away its defining characteristic - its 80sness - is a total mistake. If you like Hackett's solo work, it might be worth checking out.
Then I sort of forgot about it in the bottom of a box and it slowly exited from my memory until I found it in that very same box two months ago. Actually after viewing it a few times, I like it better than back when it first came out, fresh on the heels of that Genesis Revisited release, which I had not really appreciated. So obviously my opinion of Tokyo Album) was a bit "cheapened by its proximity of the afore-mentioned album. But this start-studded cast has much more to offer than some Genesis revival, even if that group's repertoire still holds an important place in this project's repertoire.
Indeed, bassist Wetton and flutist Ian McDonald give a Crimson legitimacy and unfortunately an Asia edge while drummer Thompson reinforce the Genesis camp. The usual Hackett sideman Colbeck rounds out the line-up on keyboards. Don't get me wrong: the vast majority of that night concert was Genesis and Hackett's material and it's a pure joy to hear the classics as the band strays a bit from the note for note perfect rendition.
Indeed, the orgasmic organized improve in otherwise over-reprised Firth Of Fifth synth solo is absolutely worth the detour, and the abridged Los Endos still featuring a Thompson solo and Quiet Earth have since become fixed concert faves of Steve's sets.
As for the Hackett solo stuff, obviously the more successful tracks are from his earlier efforts like Hierophant and Steppes, but Colossus, Camino and Black Light the latter showing Steve playing a decent harmonica. Well I wouldn't call this concert footage anything close to essential in regards to prog's overall heritage, but it's certainly pleasant enough to own and still get that fourth star, just because of the emotional impact of that evening.
This is the twin brother of his double live album, with the same name, and released three years before.
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