[1] This Is Love (T.Banks) - 5:10
[2] Man of Spells (T.Banks) - 3:46
[3] And the Wheels Keep Turning (T.Banks) - 4:48
[4] Say You'll Never Leave Me (T.Banks) - 4:32
[5] Thirty Three's (T.Banks) - 4:42
[6] By You (T.Banks) - 4:28
[7] At the Edge of Night (T.Banks) - 6:03
[8] Charm (T.Banks) - 5:26
[9] Moving Under (T.Banks) - 6:01
[10] K2 (T.Banks) - 3:58
[11] Sometime Never (T.Banks) - 3:41
TONY BANKS - Vocals. Keyboards, Synth Bass & Linn Drum
DARYL STUERMER - Guitar
MO FOSTER - Bass Guitar
TONY BEARD - Drums, Percussion on [1],[4] & [9]
STEVE GADD - Drums, Percussion on [2],[3],[6] & [11]
ANDY DUNCAN - Drums on [7],[8] & [10]
STEPHEN SHORT - Assistant Producer
GEOFF CALLINGHAM - Technical assistance
DALE & CLARE NEWMAN - Equipment & food etc.
BILL SMITH - Cover
1983 LP Charisma TBLP 1
1983 LP Phonogram 812 383 1
1983 LP Atlantic 80071-1
1983 MC Atlantic 80071-4
1986 LP Charisma 2
1988 MC Charisma/Virgin TBMC 1
1988 CD Charisma/Virgin TBCD 1
1998 CD EMI 87095
Top chart position: UK - No. 50. Singles: Aug 83 - And the wheels keep turning/Man of spells (USA).
Tracks 10 and 11 were not included on the original album due to lack of space but they were recorded in the same sessions.
Basic tracks recorded at home on 8 track.
Added to and mixed at The Farm, Surrey.
Thanks to TONY SMITH, CAROL WILLIS, GEOFF BANKS. STEVE JONES. ANDY MACKRILL, IAN TUCKER and HIT & RUN.
As it comes from Tony Banks, known for his complex and dense keyboard
work with Genesis, the sparse instrumentation on The Fugitive is quite
a surprise. Even the instrumental "Thirty Three's" is given a light
touch. Moreover, The Fugitive is far more rhythmically centered than
previous Banks material and contains very little of the difficult
wordplay often associated with the composer. Part of the reason for the
change in direction was that Banks was writing songs to be sung by
himself. While it can't be said that Banks has a great voice, it is
certainly an interesting one, and works far better with his music than
many of the other more bombastic vocalists he has recorded with as a
solo artist. Although not successful as singles, the reggae-like "This
Is Love" and the rockier "And the Wheels Keep on Turning" are stronger
than most early-'80s pop material. "By You" another highlight of the
record also shows some reggae influences and finds Banks in an
uncharacteristically romantic mood. While some parts of the album, such
as the Atari-like rhythm track to "Charm," have not aged well, overall
this might be Banks' most consistent offering. [Note: The original LP
of The Fugitive did not include the last two tracks on the CD reissue
for space reasons.]
Die Scheibe ist der erste leider mißlungene Versuch von Tony
Banks mit gefälligen Pop-Songs den kommerziellen Erfolg zu landen.
Ich bin scheinbar einer der wenigen, der sowas grundsätzlich nicht
mit Verachtung straft. Und damit nicht genug: auch wenn ich inzwischen
die Schwächen von "The Fugitive" objektiver beurteilen kann, so
habe ich das Scheibchen eine zeitlang ganz gerne gehabt, weil ich Banks
in jeder Hinsicht für einen begabten Komponisten halte und mich
guten Melodien nur schwerlich mit kopflastigen Ausführungen
entziehen kann. Während fast die ganze interessierte Welt
über die poppigen Exkursionen von z.B. Jethro Tull, Yes oder
Genesis herzieht, finde ich solche Sachen oder auch poppige Projekte
der Bandmitglieder nicht immer übel, besonders wenn die Scheibe
das gewisse Etwas aufweist.
Aber zurück zum eigentlichen Thema: "The Fugitive" wartet mit 3
ausgezeichneten Schlagzeugern, zurückhaltendem Keyboardeinsatz und
mit manchmal etwas amateurhaftem, bemühtem Gesang von Banks auf.
Dies ist übrigens die einzige Scheibe, die er im Alleingang
eingesungen hat.
Es gibt hier einige Songs im Still des ex-Chartbreakers Nik Kershaw
(siehe z.B. Opener "This is love") und zwei wie immer unverkennbaren,
interessanten Instrumentals von Banks (siehe "Thirty Three's" und
sehrgelungener Track "Charm", wirklich charmant!). Im Falle von
"Fugitive" bin ich angesichts des Mülls, welcher zum Teil die
oberen Chartplätze belegt, eher geneigt die totale Erfolglosigkeit
der Platte dem Zufall oder mangelnder Werbung zuzuschreiben.
Auf "Fugitive" stehen die Keys wie gesagt nicht immer im Vordergrund,
siehe z.B. "At the edge of Night", wo die Gitarre ein wichtiger
Bestandteil des Ganzen darstellt. Banks war offenbar bestrebt, keine
durch seine Keys erdrückte Platte abzuliefern, so hört man
auf fast jedem Track etwas vom Gitarristen Daryl Stuermer, dessen
Verbindung zu Genesis sich auf Soloprojekte von Banks hätte
beschränken sollen, dazu kann er hörbar Gutes beisteuern.
Ganz ernsthaft.
Fazit: Für mich bleibt "The Fugitive" eine nette Pop-Platte mit
vielen guten (und einigen schlechten) melodischen Einfällen, die
jedoch was die Massentauglichkeit anbelangt, vielleicht durch relativ
unattraktive Darbietung ihre beabsichtigte Wirkung verfehlt hat.
Siggy, 2/2001
Most Wanted Fugitive
Tony Banks' Fugitive is a home-grown affair. Most of the tracks were
professionally recorded at his home (much like Phil Collins did with
Face Value). This makes the album feel more honest than previous or
later recordings. Why 'This Is Love' wasn't a hit single is beyond me.
It has an interesting reggae feel and a killer bridge part. Other
standout tracks include 'And the Wheels Keep Turning', 'At The Edge Of
Night', and 'Moving Under'. Banks' musicianship is unquestionable. He
can even make a cheezy toy instrument like a Casiotone keyboard sound
like a Steinway ('Charm'). There is no reason for Banks to have someone
else sing his songs (like on all his other albums) as his voice is
clearly good enough. The price is also right. So you really have no
excuse. If you like good pop music with honesty, get The Fugitive.
A music fan from Chicago, July 31, 1999
Tony Sings.....
Remember the old days when actors would put albums that were titled
"so-and-so Sings!"? Well, this could be that kind of album for Mr.
Banks, who is not really a great singer, but his voice is pretty
tolerable, and, at some points on this album, cute.
The writing on this album pretty much started him to venture into pop
territory on his own. It's still not official that he's a pop entity,
even though his work with Genesis gives him the somewhat popularity
that he otherwise lacks. But this is the album that sorta brings him
into the current time. Gone are the grandiose solos and the
experimental keyboard riffs. This album is pure songwriting at his best.
It could be safe to say that this album is basically a demo album,
seeing that most of it was recorded on 8-track at his home. But still,
this album does have its moments. My personal favourites are songs such
as "This Is Love", "And The Wheels Keep Turning", "Man Of Spells" and
my all-time favourite from this release, "K2". The latter song shows
that he can harmonize very well. Too bad he didn't try to work more on
his voice and sing more often, instead of the usual odd track on the
next couple of studio albums that he did.
If you are looking for an album of Tony's to start your collection, I
wouldn't say start here, but I would say get it. You might be
surprised. You just might like what you hear.
harlequins_royal_scam from Palm Harbor, FL United States, June 21, 2001
If you didn't live it, it sounds pretty lame
Did you ever hear those Monkees songs from the late 80s? Over processed
music, lame, highly mechanical beats and synthesized vocals combine to
make something with all the personality of lukewarm gelatin. This guy
can play, but this package leaves A LOT to be desired. Hard-core
Genesis fans maybe, but I played it through a couple of times and it
will be relegated to the far reaches of my collection.
eanna from Independence, MO USA, January 21, 2002
Two tracks that got away
Originally released in 1983. Last two tracks not on LP. I knew I should have gotten the CD, but I wanted to save money.
John Sposato from Syracuse, NY, USA, July 26, 2001
Best of 80's Genesis solo work
Tony Banks proves here yet again that he, not anyone else is the
amazing creative genius of genesis, not steve hackett or peter gabriel.
One can see the sad decline into the style in which 80's genesis
worked- short, poppy songs. But I don't want to moan over it, he is
still absolutely amazing, the talent coulnd't possibly be hidden and
the album even now is going through my head. I only give it 4 stars
because it is a bit dry, it does not have the soft fluent magic of A
Curious Feeling or the songs he wrote for genesis-afterglow, one for
the vine , the lady lies or even Me And Sarah Jane. The standout tracks
here are Thirty three's (which sounds a bit like something from
Invisible Touch), Moving Under, and my personal favourite- the first
track, This Is Love. The choices are controversial perhaps but there
you are. His voice at the end of the fist song sounds odd but wonderful.
A music fan from charterhouse Godalming Surrey, 30 January, 2002
Here am I, lost in a world behind me. All alone, just like before you found me
Now I stare out on the traffic in the city.
Even in the dark.
And the rain falls on my window sill.
This a love, girl, call it what you will.
This a love.
As I sit, thoughts of the past surround me,
All around, like the sound of the wind in Winter.
Now I walk among the buildings of the city.
Always in the dark.
And the rain falls, spray from passing wheels.
This a love, girl, call it what you will.
This a Iove
Do what you want, do what you want you've got to.
Be what you want, be what you want you've got to.
Before, my life was a waste without you.
What do I do now that I'm gonna Iose you?
But you're gonna do exactly what you want to
Finish my world if I don't get to hold you again.
Now I walk among the buildings in the city.
Always in the dark.
And the rain falls, spray from passing wheels.
This is love, girl, call it what you will.
This is love.
And if you ever want me again. I will be there.
If you world seems to need me again I will be there,
Now I stare out on the traffic in the city.
Even in the dark.
And the rain falls on my window sill.
This is love, girl. call it what you will.
This is love
MAN OF SPELLS
In shadowy holes, the light disappears.
Evening is with us now.
And all around begins the movement
The many creatures of the night prepare
Undisturbed by the sound. with noiseless tread.
A figure comes into view.
A trail of magic runs behind him,
The Man of Spells has come to visit you.
He knows how much you really want him.
He knows just what you all want him to do.
Drawn back cloak revealing.
Wraith-like form concealing.
Half-heard words beseeching
Half-seen eyes unseeing,
Help me as I helped you.
Help me now I need you.
The enchantment is gone, the ghost disappears.
Leaving just a tired old man.
In restless dreams we might have changed him.
But a wanderer's all he'll ever be.
With shuffling feet he turns and is gone.
Back to his open home.
A trail of ashes runs behind him.
The man of magic has retired tonight.
He knows how much you really want him.
He knows just what you wanted him to do.
AND THE WHEELS KEEP TURNING
And we wheels keep turning, all the time.
But there's no pounding or purring, not a sound.
Just a feeling of stirring, hold them down, hold them down, hold them down.
Yes it might happen this way.
You have no warning, she is going away,
She was the backbone, to you life and your plans.
And now the unknown holds you down with its hands.
And then you know that there's no turning back from here.
And we wheels keep turning, all the time.
No mechanical churning, not a sound.
Just a feeling of stirring, hold them down, hold them down, hold them down
Yes it might happen this way.
She is familiar, nothing much more to say,
And then the day comes when you look in her eyes.
And what you see there takes you quite by surprise,
And then you knew that there's no turning back from here.
People moving, going about their day.
People planning, knowing just what to say,
In one year we'll have money to spare.
And in five all we require.
In ten years we'll have a place of our own
And in forty we'll retire.
So, do what we must before we turn to dust
And we wheels keep turning, all the time.
No expansion or burning, not a sound,
Just a feeling of stirring, hold them down, hold them down, hold them down
Yes it might happen this way.
You have no warning, she is going away.
She was the backbone, to you life and your plans.
And now the unknown holds you down with its hands.
And then you know that it might happen this way,
She is familiar, nothing much more to say,
And then the day comes when you look in her eyes.
And what you see there takes you quite by surprise,
And then you knew that there's no turning back from here.
SAY YOU'LL NEVER LEAVE ME
On a cold clear night in November.
All the people had gone to bed
We found oursleves upon a cliff edge.
Looking out to sea.
Then a sight in the pale moonlight.
Made us shake our heads in dismay.
A wave taller taller than the tallest tree
Bore down on she and me.
All the hopes and dreams we had
Dissolved amidst the fear
What I'd be... without you now.
Only the stars could ever tell.
From the window of our hotel room
We look out on the city below.
Driven light move randomly.
The never ending show. And when the bells shut ringing
We have fifty floors to go,
What I'd be... without you now.
Only the stars could ever tell.
Say you'll never leave me, never leave me alone.
Say you'll never leave me, never leave me alone.
On a lake, we cling to the rail.
On the back of a sailing boat
A mist falls around us.
Now becalmed we float
Then from behind comes a warning sound.
We're helplessly adrift
Still, we see nothing,
And then we see the ship.
High above it dwarfs us,
There's nowhere we can go,
What I'd be ... without you now.
Only the stars could ever tell.
Say you'll never leave me, never leave me alone.
Say you'll never leave me, never leave me alone.
Say you'll never leave me alone.
Say you'll never leave me alone.
I'd be so lonely here without you,
So lonely here without you, my love.
So lost without your love
THIRTY THREE'S
(Instrumaental)
BY YOU
As I step inside the street sound.
A growl of thunder turns my head round,
I see one face in the crowd,
Like a beacon in the rain,
I see your sunshine calling to me.
As the people rush on by you,
I will move myself beside you.
Link arms like policemen in a chain.
Keep ourselves inside the line,
I need you now like it needed to rain.
As the puddles form around us.
And the thunder noise surrounds us.
Now I can laugh amid the storm,
Like a child in the warm.
I feel your sunlight shining on me,
All around me, inside me.
Then high in the sky, a star appears to be winking,
A branch caught by the wind, its leaves beckon to me,
Stone still at my feet its grey matches my thinking.
Well water so deep, its song calling me down, down, down
Now in the street I stand deserted,
With the cold and wet returning.
I turn, rejoining with the crowd.
Like a leaf caught in the stream,
I need you now like it needed to rain.
I will meet you where the winds blow.
The thunder rolls to and the streams flow.
I will see your face in the crowd,
Like a beacon in the rain.
And see your sunshine calling to me.
AT THE EDGE OF NIGHT
In fading starlight creeping gloom.
At the edge of night
I dream inside this half-lit room.
It's gonna be alright
And I will say, that I will stay with you
And be forever by your side.
No matter what before might lie
Or what we leave behind.
And now the sun shines through the trees.
In the morning light
It seems so easy to believe.
It's gonna be alright
And I will say. that I will stay with you
And be forever by your side.
No matter what before might lie.
Or what we leave behind.
But if you're thinking that you don't feel that way.
I'll leave you alone now, I'll go away.
I promise, I'll go now, no matter what I said.
But I'll be waiting, right here for you
Until I lay my body down
And it will be forever nighttime.
If that's the way it is, the way it has to be.
And now the stars come back to life.
At the edge of night
Another day has dipped away.
It's gonna be alright
And I will say, that I will stay with you
And be forever by your side
No matter what before might lie.
But if you turn me down.
Then I'll be waiting, right here for you.
Until I lay my body down.
And it will be forever nighttime.
If that's the way it is, the way it has to be.
CHARM
(Instrumental)
MOVING UNDER
Into the night but out of the dark.
To be cornered and yet to survive.
The jester performed, with his body he scorned.
With his voice he amused, and a little confused
His masters the King and Queen.
The laugh of the King was clear and strong.
So out of fear the crowd laughed along.
And how I'd love to leave here.
Moving under.
Lost in space and with no hiding place.
And no chance of staying alive.
His men turn to him with confident eyes.
They've been in trouble before, but still they're alive
They're sure he'll think of something,
But slowly their eyes take on looks that accuse
As they realise, he knows they must lose.
And how I'd love to leave here.
Moving under.
Doesn't anybody know that I am on the run?
How I'd love to leave here.
Always moving on.
Always moving on somewhere that doesn't mean a thing.
How I'd love to leave here.
How I'd love to be there.
Always on the ran.
Always searching for some place that I can be alone.
Doesn't anybody know the reason why?
Into the night but out fo the dark
To be cornered and yet to survive.
The Fugitive runs, though his hands are tied.
His legs are in irons hut his head's held high.
He knows how not to feel.
The time is right to move out of the night
Into the light and stay out of sight
How I'd love to leave here.
Moving under...
Doesn't anybody know the reason why?
K2
You and me, we got to go somewhere,
Somewhere where there's air to breathe,
Even though we can't see daylight
Somehow we can feel the breeze, oh no,
Gonna be there someday, gonna make it some way.
Climbing cross the hills on pathways.
Where wiser men would fear to tread.
The air itself seems made from treacle,
Our shoes they feel they're made from lead, oh no,
Gonna he there someday, gonna make il some way.
I got to know how you feel,
Got to know who you are,
Got to know from where you come.
You and me we got nowhere to go,
Nowhere to run to, nowhere to hide,
Ways appear, then disappear forever, all around.
We wander down between the houses,
Then walk among the fields again.
If we always keep on moving
We know we'll get there in the end, oh no.
Gonna be there someday, gonna make it some way.
SOMETIME NEVER
Sometimes I have to ask myself,
How it is that we survive.
We know trains, boats, planes and cars
Will sometimes fail.
And if one don't get you then the other one will.
And if the other don't get you then another one surely will.
Inside, your heart must keep on going.
And so must all the other parts too.
Illnesses and poisons lie in wait
And if one don't get you the other one will.
And if the other don't get you then another one surely will.
I'm not just talking about the mountain climbers.
Jungle explorers or even hang gliders.
I'm not just talking about test pilots.
Steeplejacks, stuntmen or racing drivers.
Half the people in the world behave
Like they'd like to see the other half dead,
With guns and knives or perhaps just unconcern.
And if one don't get you the other one will.
And if the other don't get you then another one surely will.
I'm not just talking about the mountain climbers.
Jungle explorers or even hang gliders.
I'm not just talking about test pilots,
Steeplejacks, stuntmen or racing drivers.
I'm not just talking about lion tamers,
Human canonballs or secret agent;
I'm not just talking afaout skydivers,
Trapeze artists or rodeo riders
I'm not just talking about bounty hunters,
Astronauts, boxers or Billy Bunters