Author: Web Rock Radio News Dept

Ever since donning the iconic black hat, suit and shades of Elwood Blues in John Landis’ 1980 blockbuster The Blues Brothers, Dan Aykroyd has been irrevocably associated with blues music. It’s a situation which could be painfully frustrating if the actor in question were not such a dyed-in-the-wool and well-informed hardcore fan of the genre. Catching up with Dan on a visit to the UK back in 2013, we asked him to choose his top 10 blues records. But he refused… and chose 11…

Howlin’ Wolf – Evil

“You can’t get any deeper into the blues than Chester Burnett. I got to see him a dozen times when I was growing up in Ottawa, Canada, and Evil showcases his voice beautifully. It’s a haunting, mysterious track, and my favourite blues record.

“Although he was a very physically imposing man, he was always nice to us kids when we got the chance to go backstage to talk to him. I guess because he knew that we were the up-and-coming fanbase reviving his career.”

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Jimi Hendrix Experience – Red House

“Hendrix really is a blues man, and touching that vein the way he did, he was able to cut a classically structured blues track but spin it out in a way only Hendrix, with his guitar skills, could. Red House is a great example of his work and a tribute to blues music, filtered through Hendrix. While retaining a terrific respect for the blues form, his guitar was always innovative and didn’t sound like anybody else.”

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John Lee Hooker – The Healer

“A beautiful, wonderful guitar and a great collaboration with Carlos Santana, a great use of John’s voice on a soothing, romantic song, just terrific.This was recorded near the end of his career and he played until he was into his 80s. I remember seeing him at The House of Blues in Anaheim and he just tore the roof off the place.

“It was great to get him into The Blues Brothers. I wish he’d been in it more, it was a little fight I had with [director John] Landis, but he was in the Maxwell Street scene before we go into the restaurant, that’s John Lee Hooker and Big Walter Horton playing there.”

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Junior Wells with Buddy Guy – Messin’ With The Kid

“Great collaboration, great artists, wonderful harp work, Junior at his best and a wonderful, staccato blues song, not exactly in a traditional structure of 12-bar, a more progressive structure, it breaks up musically a little more and it’s just fantastic.”

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Wynonie Harris – Sittin’ On It All The Time

“It’s a great song about a woman who held onto her charms and didn’t share them with anybody, then in the end was too old to share them with anybody because no one wanted them anymore. I love Wynonie Harris, a great jump swing artist, a great blues player. What he realised was, it wasn’t only the music that could connect with audiences, it was humour.”

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Paul Butterfield Blues Band – Born In Chicago

“A really painful Chicago song about how hard it is to lose friends. When I sing it, I think of Johnny [Belushi]. I perform it with The Blues Brothers All Stars Show Band, with Zee [James Belushi] the blood brother of Jake Blues, and we sing that song a lot. There’s a verse in there, ‘my second friend went down when he was 33 years of age’ so it’s meaningful for me when I do it. The one thing you can say about Johnny is that he made the front page.”

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The Rolling Stones – Little Red Rooster

“It’s just them at their slow, easy, sexy best, with Mick really nailing it as a vocalist and Keith giving it that great spin that only the Stones can do. There was that seminal recording session, when they went to Chess Records to see where all the great records were made, and Muddy Waters walked out to help them in with their equipment.

“When I was 16, I went to see Muddy Waters at Le Hibou [club in Ottawa]. SP Leary didn’t come back to the stage [for the encore] and so Muddy goes ‘Is there a drummer in the house?’ and I said ‘Yeah’ and I hopped up there. I actually got to drum behind Muddy Waters.”

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Albert King  – Born Under A Bad Sign

“The best of the Stax-Volt era, you could say that he was a blues and blues/R&B crossover artist, but that’s just got to be one of the greatest blues songs ever written, and big old Albert King, left-handed guitar player, pipe smoking, gun carrying Albert King, was well equipped to deliver that music.

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Freddie King  – Going Down

“A great, haunting, evocative, mysterious, sad, tragic song with great guitar and great lyrics. There’s a lot of tragedy in the blues, but a lot of humour too. you know, like ‘All She Wants To Do Is Rock: ‘My baby don’t like aeroplanes, she don’t like high-class clothes or fancy trains/All she wants to do is stay at home and hucklebuck with daddy all night long.’ ”

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Eric Clapton  – Reconsider Baby

“I believe Lowell Fulson originally recorded that one, but I loved Clapton’s version of it. That record of his From The Cradle, that’s just beautiful. Anything Clapton’s done, all his early work, he’s a great artist and a true bluesman.”

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Solomon Burke – Everybody Needs Somebody To Love

“Again, this is probably more R&B than blues, but it’s certainly in the blues tradition, and what a great blues artist he was. We covered that [in The Blues Brothers], and The Stones covered it but, Solomon Burke’s version is slow with a rolling feel to it and the richness in his voice.”

Originally published in Classic Rock issue 186, June 2013

Classic Rock’s Reviews Editor for the last 20 years, Ian stapled his first fanzine in 1977. Since misspending his youth by way of ‘research’ his work has also appeared in such publications as Metal Hammer, Prog, NME, Uncut, Kerrang!, VOX, The Face, The Guardian, Total Guitar, Guitarist, Electronic Sound, Record Collector and across the internet. Permanently buried under mountains of recorded media, ears ringing from a lifetime of gigs, he enjoys nothing more than recreationally throttling a guitar and following a baptism of punk fire has played in bands for 45 years, releasing recordings via Esoteric Antenna and Cleopatra Records.

Steve Hackett had some surprise revelations for Prog when we interviewed him back in 2019 about the release of his twenty-fifth studio album At The Edge Of Light…

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We can’t prove it, but we’re roughly 86% sure that someone has popped a couple of massive Duracell batteries into Steve Hackett’s back. Perhaps due to the Genesis legend’s affable and unassuming demeanour, the insane levels of activity that the 68-year-old has been putting in over the last decade (and many years before that) are seldom remarked upon with the intensity they deserve. Seemingly on the road more often than not but prolific in the studio too, he has slowly but stubbornly re-established himself as one of the prog world’s most vital forces. Whether playing classic Genesis material or his own successful recent solo material (2017’s The Night Siren was a Top 30 hit in the UK album charts), Hackett is riding a unique wave of accomplishment and creativity that has been a joy to witness.

A new year brings the release of Steve Hackett’s 26th solo album, At The Edge Of Light. As with most of his recent records, it’s a bewildering but endlessly fascinating tour-de-force of progressive ideas, spinetingling melodies and bravura musicianship, delivered by a list of rock, prog and world music luminaries, with Hackett sharing the spotlight with typical humility. Almost certain to emulate The Night Siren’s unexpected chart success, it’s an album that Hackett seems to feel he has plucked from the ether, as inspiration arrived from all directions.

“Well, the album came out of conversations and it’s influenced by everything,” he notes. “Each time I sit down and think about making a new album, it’s a daunting task. I think, ‘So people really liked the last one… oh dear!’ But it all starts with a doodle, a bit of an idea, something that’s unformed. If you can hang on to the spirit that informs any one particular song and not get hidebound with the form of it, not get too involved with the construction, that’s the key. Of course you’ve got to play the right notes and bring all the nuts and bolts together that the machine requires, but beyond that you’ve got be to thinking, ‘What’s the idea of this one, in the end? What’s this song about?’”

The most obvious result of this approach to composition is that At The Edge Of Light sounds unlike anything else happening in music right now. At times mischievously esoteric, with sounds ranging from the expected wall of guitars to sitar, cimbalom and (as Hackett notes with a chuckle) “drums put through a Marshall cabinet”, the album boasts many changes of mood, but the overriding feel is one of wide-eyed joy at music’s kaleidoscopic potential.

“There’s no reverential thinking here. Everything is grist for the mill,” Hackett says. “So many things appear in cameo, to be replaced by something else. There’s a tight turnover of events and that’s exciting. Whether it’s film music, classical, big band stuff or jazz, I feel that when I make an album I’ve got to honour all those gods, those influences, and I’ve got to go with those things that moved people to play in the first place. That’s the legacy of having worked with Genesis. If you can make all those things happily co-exist within the same album, why not? It’s a case of, ‘Dare I put this in? Will I get away with it?’”

And does he think he will?

“Well I think there’s something for everyone on this one. If you’re familiar with what we’ve been doing, there’ll always be things that are typically progressive and there will be something like a simple, 60s-style pop song like Hungry Years. I want to be controversial and say that it owes as much to Peter, Paul & Mary as it does to Clannad or The Beatles. There’s nothing remotely progressive about it whatsoever, but that’s the whole point: to not be afraid of contrasts. Not everything has to be an impenetrable equation. Contrasts are the best that the prog stuff has to offer.”

From the folksy gloom and soaring leads of Beasts Of Our Time and the
blues-tinged clangour of Underground Railroad to its dazzling three-part finale, Descent/Conflict/Peace, At The Edge Of Light covers so much musical ground that,
in less capable hands, it could’ve been a complete mess. Instead, it borders on a connoisseur’s guide to prog, both ancient and modern, replete with one song – Under The Eye Of The Sun – that boasts glorious vocal harmonies straight out of the Yes handbook.

“Yeah that’s funny because when those harmonies kick in, it’s really just one bloke and one girl,” Hackett grins. “It’s me and Amanda [Lehmann]. One reviewer said that it sounded like Crosby, Stills & Nash… not to mention Young! [Laughs] But it’s funny, because Jon Anderson has that androgynous quality to his voice, so there are times when there’s that whole other octave that I want to reach, and I think if you track up the vocals thickly enough it does end up sounding a little Yes-like.

“You know, Chris Squire asked me to join Yes when we were working together,” he says. “I was extremely flattered for about five minutes, thinking that I could have ‘Guitarist for Genesis and Yes!’ on my CV, but in the end I felt that Yes were very
well served by a whole legion of great guitarists, most of whom I’ve worked with at some point! So that was a great compliment from Chris. But there’s an aspect of what I do where I think, ‘Well, if I had been working with Chris, that’s just the sort of song I might’ve presented to him!’ In all our thoughts, those of us who have been influenced by the great Chris Squire and his mega bass playing, it’s hard to pick up a Rickenbacker and not think of the wonderful things that he did with it. So in spirit, I’m always talking to Chris.”

One specific example of Chris Squire’s now-distant but essential influence on Hackett’s musical life is that the much-missed legend cannily foresaw his fellow musician’s large-scale orchestral endeavours. According to Hackett, Squire once pointed out that he was the only guitarist he knew with a sufficiently robust ego that genuinely enjoyed the idea of being surrounded by so many musicians.

“I might be doing a disservice to a few people here, but that’s truthfully what he said. I said, ‘Yeah, I don’t feel threatened by it. We’re all string players. We’re all musicians first of all and we all make a noise for a living and that’s what binds us.’ It’s safety in numbers and a case of ‘Why the hell not?’ I know Chris loved choral stuff and I have those aspects on this album, too. The solo singing, harmony singing, choral, gospel, improvised, fixed lines, it’s all there. They’re all different approaches and all designed to throw you off the scent, so if you say, ‘Well I don’t like that particular thing…’ well, here’s another one!”

Perhaps more so even than its much-hailed predecessors, At The Edge Of Light is an album that celebrates creative cooperation. A quick glance down the album’s roll call reveals contributions from Nick D’Virgilio (Big Big Train/ex-Spock’s Beard), Jonas Reingold (Flower Kings/Karmakanic), Simon Phillips (The Who/Toto), Pink Floyd vocalists Durga and Lorelei McBroom, sitar guru Sheema Mukherjee, saxophonist Rob Townsend and, of course, Hackett’s brother John, a mainstay of his live and studio work for decades. With several other eclectic protagonists thrown into the mix, it’s very much an album of ensemble and individual performances, all tastefully glued together with Hackett’s low-key charisma, elegant vocals and scorching leads. A heroic team effort, if you will.

“Oh yes, it’s all about the team and about everyone,” says Hackett. “I don’t take every solo. Whether I should take more or fewer solos, it all depends. If you’re coming from a heavy metal angle, you’d probably say there was a dearth of guitar solos on the album. Coming from the point of view from a pop songwriter, you’d say there was far too much guitar! But it’s what other people bring to it that makes the difference. And I find it amazing, the skills that others exhibit.”

It’s not hard to see how the late blossoming of Steve Hackett’s solo career has stemmed from his own delight at all the incredible musicians that are, unsurprisingly, eager to get involved. As he describes it, the long journey from adolescent dreaming in the 60s to nailed-on icon status has been fuelled by a deep and profound fascination with what other musicians can do and how that, in turn, could make his own music bigger, better and more enduring.

“Many of these people are used to playing in improvised forms, perhaps much more than me,” Hackett says. “I came out of a school of songwriters and I just happened to be a guitarist. The emphasis is slightly different. In the 1960s, I used to advertise myself as a blues guitarist and harmonica player, Blind Lemon Hackett! The blues boom had died on me by the end of the 1960s, music was on the change and was due to become fully comprehensive by the start of the 70s, and so, luckily, that’s when I met Genesis. But, as I say, other people are very important to me and what they bring to it. We did the tour with the orchestra and it was like a small army onstage – it was about 50 people all going at it! How can that possibly be a solo performance? It just isn’t.”

If you saw Steve Hackett’s Genesis Revisited: Band with Orchestra tour earlier in 2018, you won’t require any further evidence that the guitarist is thoroughly enjoying expanding and exploring the more ambitious end of his repertoire. Today, he admits that the experience has fed directly into At The Edge Of Light: not in terms of specific orchestral embellishments, although there are plenty of those too, but more in terms of providing a fresh perspective on what is generally some very complex music.

“Playing with the orchestra was inspiring. Just the challenge of seeing if you can pull it off, you know?” he notes. “But because I’m thinking globally and thinking about comprehensive and inclusive music that includes all known genres and every corner of the globe, one is naturally working with orchestras, whether it’s some Philharmonic Orchestra or a collection of 20, 30 or 40 people that I might have on an album. It’s always an orchestra. We might track people up 100 times in order to get the best out of them. But it’s an army of generals, really. I guess I function the way Jeff Lynne has done with ELO, where it’s a small team that’s usually tracked up to sound like a very big team. If an orchestra’s name is on the flyer, that’s great, but didn’t a lot of these progressive bands already sound like an orchestra in the first place?”

One of prog’s most reliably adventurous souls, Steve Hackett has always assimilated a dizzying array of disparate influences into his music. It’s clear evidence of an open-minded approach to life that is also reflected in his lyrics. Often world-weary but never devoid of hope, Hackett’s worldview is another element that makes his music so inclusive. On At The Edge Of Light, the grim spectres of war, conflict, social division and needless suffering all loom large amid the record’s darker moments, and while he is reluctant to stick his head above the parapet to make specific political declarations,
it doesn’t take a genius to work out where he stands on the likes of Trump, Brexit and the rise of the far-right.

“I suppose I have to preface this by saying that I’m cautiously optimistic about the world’s future!” he laughs. “I have to believe that we’ll pull ourselves out of the current nosedive. We’ve got all this wonderful technology and all this knowledge, and it seems that populist thinking is going to lead us back to the caves, if not back to war. I think there are several songs on the album that address that. You can’t pretend these things aren’t happening. The truth is that no international musician wants Brexit. Why would you want to go back to the days of carnets and delays at airports and not being sure that you can show up for a show, because that’s how it was back in the early days? I remember we cancelled Genesis shows in Italy because we couldn’t get the truck across the border. Do we want those days again? No. So I am critical and I am angry.”

So does it feel even more important, at this precise moment in time, that At The Edge Of Light is such a proudly international record?

“Yes, it’s an international album. I can’t help that. I’ve tried to make it all bucket and spade, but it won’t wash! As soon as you start taking a bite of a pizza, you become a European. If you’re gonna be a true Euro-sceptic, then sorry, no more pizzas, no more coq au vin… it’s fish and chips for you, if you’re lucky!”

Does this album feel like a protest of sorts? It’s certainly unequivocal about rejecting much of what’s happening around the world at the moment.

“You know what, I noticed just the other day, I’d been into one shop to have a coffee and then into another shop to buy a new pair of shoes. We’d just had all the celebrations about commemorating the end of the First World War, and I noticed that in both places they were playing Dylan songs. Blowin’ In The Wind was high on the agenda! It is the quintessential protest song and I’ve been saying for a while that the protest song as a genre is ever more necessary. I don’t think that the Vietnam war would have ended if American students hadn’t taken matters in hand themselves. It was about communication.”

Communication is at the heart of everything Hackett does: communication between artist and fans, and between one musician and countless others. It might sound like old hippie nonsense, but advocating an ethos of peace, love and hope is something to be saluted. As he points out, it’s just a shame that the world has taken such an ominous turn, making troubled but emotionally uplifting records like At The Edge Of Light all the more necessary.

“You’d think that world leaders wouldn’t have to get to this point again,” he states. “But I do feel that, for instance, refugees have been so demonised and are getting a rum deal. I think the whole concept of countries is completely outdated when you have technologies that enable people to work together, in much the same way that this album was constructed. I recorded Durga and Lorelei and others at my home studio, but equally Jonas and the drummers were sending their performances in, so there were no borders for those people.”

Despite the daily horror of the news, Steve Hackett is definitely having fun. At The Edge Of Light will emerge in January, presaging yet another extensive tour that takes in most of Europe, Canada and an impressive 20 dates in the UK. There aren’t many rock veterans putting in that level of effort at this stage in their careers, but then most musicians aren’t as profoundly happy with their lot as Steve Hackett. Thrilled to be both a relevant, contemporary musician and guardian of the Genesis catalogue, he simply can’t wait to get back out there.

“I’m advertising that I will be playing Selling England By The Pound in its entirety, plus most of Spectral Mornings, plus new stuff and extra Genesis, too!” he beams. “So there’s a lot to rehearse, put it that way. But I’m looking forward to it with absolute relish, in order to serve the best of the past, the present and the future. It’s quite a task! But it’s got to be done. I’ve got a terrific band that will involve all the guys that were onstage last time. We’re going for a change of drummer – we have Craig Blundell, who’ll be doing the majority of the gigs next year, but also some gigs with Marco Minnemann, who’s going to be doing the two cruises we’re doing. They’re all great players, as indeed is Gary [O’Toole]. I’m looking forward to it all tremendously.”

Does it surprise him that the Genesis material is still so alive? The demand for it seems to be growing…

“It was inspirational music back then and I was inspired by all the guys I worked with. But it’s inspirational now, too. A lot of people say how much it means to them. The audience gets the chance to say that every night, and I know it moves people. Beyond that, I think I’ve been blessed to be able to bring that once more in front of people. It’s beyond the museum doors for the glorious exhibits!”

His enthusiasm is infectious, his energy boundless. Maybe our Duracell theory is nonsense after all. All he needs to power him through another 12 months of triumph is the greatest energy source of all: music itself. Let the happiness and healing begin.

“Music still has the ability to set the world alight and lay a few ghosts
to rest,” he concludes. “Music changed the world – let’s not forget this. And
I think it can change the world again, for the better. Music can go to places that politicians can’t, and it knows no borders. It’s one of the greatest medicines in the world and it’ll do you good. Honest, guv! It’s the oxygen that we breathe and it’s a great motivator. This has been a great journey and it’s not over yet!”

Dom Lawson has been writing for Metal Hammer and Prog for over 14 years and is extremely fond of heavy metal, progressive rock, coffee and snooker. He also contributes to The Guardian, Classic Rock, Bravewords and Blabbermouth and has previously written for Kerrang! magazine in the mid-2000s.