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Steve Hackett: Defector

 A l b u m   D e t a i l s


Label: Charisma Records
Released: 1980
Time:
 36:52
52Category: Pop/Rock
Producer(s): John Acock, Steve Hackett
Rating: ****....... (4/10)
Media type: CD
Web address: www.hackettsongs.com
Appears with: Genesis, GTR, Peter Gabriel, Tony Banks, Mike Rutherford, Phil Collins, Chris Squire, Steve Howe
Purchase date: 2002.09.24
Price in €: 16,99





 S o n g s ,   T r a c k s


[1] The Steppes (S.Hackett) - 6:05
[2] Time to Get Out (S.Hackett) - 4:12
[3] Slogans (S.Hackett) - 3:57
[4] Leaving (S.Hackett) - 3:04
[5] Two Vamps as Guests (S.Hackett) - 1:53
[6] Jacuzzi (S.Hackett) - 4:36
[7] Hammer in the Sand (S.Hackett) - 3:10
[8] The Toast (S.Hackett) - 3:42
[9] The Show (S.Hackett) - 3:40
[10] Sentimental Institution (S.Hackett/P.Hicks) - 2:33

 A r t i s t s ,   P e r s o n n e l

STEVE HACKETT - Guitar, Optigan, Roland GR 500, Vocals

JOHN HACKETT - Concert & Alto Flute
JOHN ACOCK - Keyboards
DIK CADBURY - Bass, Vocals
PETER HICKS - Vocals
NICK MAGNUS - Synthesizer, Keyboards
JOHN SHEARER - Drums, Percussion  

 C o m m e n t s ,   N o t e s


1980 LP Charisma 3103
1989 CD Virgin Records Ltd. CDSCD 4018
1991 CD Blue Plate CAROL-1859-2
1995 CD Plan 9/Caroline 1859

"Defector" entered the UK charts on June 1, 1980 and actually reached position 9. It didn't fare as well in the US charts however and only reached position 144.



A gold selling album recorded with Steve's touring band of the time. Heavier leanings in tracks such as "The Steppes" and "Slogans" but witness also the magnificent acoustic piano of "Hammer In The Sand".

Copyright © 1980, SteveHackett.com



Former Genesis guitarist Steve Hackett stepped out on his own in the late '70s with several solo releases, including Defector. The 1980 release doesn't stray far musically from early Genesis, containing a healthy (or unhealthy, depending on your tastes) dose of progressive rock. Five flute and keyboard heavy instrumentals appear, as well as five vocal numbers with Hackett doing the singing chores. Of the vocal numbers, "The Toast" sounds a bit like Pink Floyd — light, with John Hackett's flute stripping away all menace from a melody line that could easily have fit on Dark Side of the Moon. Unless you own every ELP, Yes, and King Crimson album and are looking for anything prog to further your collection, Defender isn't an album worth seeking out.

Steve Kurutz - All-Music Guide, © 1992 - 2002 AEC One Stop Group, Inc.



One of his best ... A fine effort, it features "Ballad of the Decomposing Man" and the title track.

Michael P. Dawson




Arguably the definitive Hackett album of the seventies. The strong lyrical instrumentals combined with the cutting edge of Hackett's guitar style not only received critical acclaim but were consistently used for many films and TV programmes.

SteveHackett.com, Copyright © 1979



Moving into more of a group framework, Steve Hackett's third solo LP is reminiscent of his former group, Genesis. "Every Day" contains the pulsating bass with the combined keyboard and guitar melody introducing vocals present on later Genesis LPs. The title track, possibly the strongest on the album, would have been at home on nearly any "G" album since Selling England By The Pound. This seems to suggest Hackett's underestimated role in that group, rather than his attempt to recreate their sound. The band is basically new,with Pete Hicks on vocals, Dick Cadbury on bass, brother John Hackett on flute (as on the two previous solo LP's), John Shearer on drums, and excellent keyboard work throughout by Nick Magnus. An orchestral sound is created on many tracks, especially "Tiger Moth." Other cuts are more diverse, including the oriental-flavored "The Red Flower Of Tachai Blooms Everywhere," a nice acoustic instrumental called "Lost Time In Cordoba," and an entertaining British ragtime piece, "The Ballad Of The Decomposing Man." Familiar sounding or not, Spectral Mornings is as good or better than his first solo effort, Voyage Of The Acolyte, and certainly an improvement over last year's Please Don't Touch.

© 1978-1999 College Media Inc. All rights reserved.



I am a huge Steve Hackett fan and "Defector" is one of my all-time personal favorites. I bought the record in 1981 and I still listen to it at least once a month (which is saying a lot, since I have a fairly expansive prog rock collection).

Just like Hackett's other solo efforts, the music on "Defector" ranges from wildly experimental to relatively straightforward. Some tracks evoke memories of early Genesis - while others are distinctly Hackett. In many respects, this is a "sister" album to its predecessor, 1979s "Spectral Mornings" (in fact, Hackett has the same superb band backing him on this record - including Nick Magnus on keyboards and John Shearer on drums).

As I mentioned in my review for "Spectral Mornings," Hackett is an amazing composer - but his ability to write music is often overlooked by fans who are obsessed with his guitar playing. In many respects, he is a "minimalist" as a guitarist - capable of zipping off a million notes a second, but known for holding back until the right moment comes to show off his technical ability. His emphasis often appears to be on the composition first, technical ability second, especially on his first five solo albums. In my opinion, this is what makes his solo material so damn good. It is also what has allowed his music to stand the test of time.

"The Steppes," the opening track on this record, is a slow-driving, powerful, majestic instrumental which sounds like it draws on eastern scales (but I'm not sure that it does - at least not the entire tune). I've never seen this music in sheet form, but I would love to see how it works mechanically, and, in particular, which scales Hackett is using. This track sounds a lot like something 1970s Genesis might have used - if not in its entirety, but at least as a component of another tune - and is one of Hackett's all-time best. It's really hard to describe in words how unique this tune is. Heavy, heavy keyboards - very dark and ominous sounding - yet strangely beautiful.

"Time to Get Out" is a relatively straightforward rock tune which may or may not be representative of Hackett's feelings at the time he left Genesis (it could also have something to do with the Falkland Islands, or perhaps drug abuse, I dunno ...) I really like the vocal harmonies on this track, as well as the original keyboard sounds provided by Magnus.

After "Time to Get Out," the record begins to get really experimental. "Slogans" is a fast-paced, dark-sounding instrumental with tangling time signatures and absolutely mind-blowing musicianship. It segways nicely into "Leaving," which is also a relatively complex composition (check out those time signatures - and Shearer's drumming). Both of these instrumentals would be well-suited as music to accompany the weirdest nightmare you could possibly imagine (or for altered states of conciousness, which Hackett was obviously once into). "Leaving" then segways nicely into the mostly-acoustic "Two Vamps as Guests," an interesting tune with a haunting melody. This is one of the only songs on which Hackett weaves a previously-heard theme (that of "The Steppes") back into the mix (check out the acoustic solo at the end) - something which he did a lot of on "Voyage of the Acolyte" - and something which Genesis did a lot of during the 1970s. Hackett didn't do this much, if at all, on his later solo releases (this re-use of themes has always been one of the hallmarks of the classic progressive rock "concept album").

"Jacuzzi" is also a fast paced - but relatively upbeat - instrumental which showcases Hackett's playing ability, along with that of his brother, flutist John Hackett. This is perhaps my second favorite track on the record and is an astonishingly solid composition (there are no weak parts - all of the notes hold together like a string of pearls). Again, you'll find more challenging time and key signatures here - but if you just sit back and listen, it doesn't sound forced or cumbersome. Despite its complexity, the music flows like water ...

"Hammer in the Sand" is a superb keyboard instrumental featuring - guess what - almost no guitar whatsoever. This track, with its haunting melody and "dark and somber" tone, exemplifies not only Hackett's ability as a composer, but also his desire to show complete restraint on his instrument when he feels it is applicable. He must have realized, somewhere along the way, that the guitar just wasn't the right instrument for this melody - so he left it mainly to Magnus to play it for him. "The Toast" is a relatively simple but pretty tune with vocals by Pete Hicks (who, by the way, provides most of the lead vocals on the album). Once again, there isn't a lot of guitar here (except for some quiet accompaniment) - but the song is so compositionally immaculate and enjoyable that it's easy to forget that you're listening to a guitar player's solo effort.

The only criticism I have of this record is that the last two tracks - "The Show" and "Sentinmental Institution" - scream "filler." The former is a bland pop tune, the bass line of which is somewhat reminiscenet of late 70s disco (don't get me wrong - it is tolerable). The latter seems to have been fashioned, to some degree, after the American popular music of the 1920s, and although it is somewhat whimsical in nature, I'm really not sure what compelled Hackett to include it on this record (same holds true for "Ballad of the Decomposing Man" on "Spectral Mornings"). It's unfortunate that he couldn't wrap this record up with a tune as powerful as the closing, title track of "Spectral Mornings"

But I have to give this record five stars, not only because the first seven tracks are so solid, but also because I fell in love with it at a time when I was very impressionable (age 15) - therefore, it will always evoke memories for me, and will always be something special to me. If you love Genesis - or if you just plain like progressive rock - get "Defector" - and get Steve Hackett's first five solo albums.

By the way, Hackett's first five albums have not yet been remastered (because the material is still the property of Chrysalis Records) and the existing transfers are aweful sounding (they sound so much better on vinyl, it isn't even funny - some jerk did a real botch job on these CDs). You might want to wait until Hackett's first five records have been remastered before you go out and buy them (from what I heard, this is supposed to happen sometime soon).

Patrick Barnard from Cos Cob, CT United States, August 16, 2002



scraping the barrel ?

Those who were still looking to Steve Hackett to continue where Genesis had left off (in 1980 !) generally felt that "Defector" was a bit of a let-down after the magisterial "Spectral Mornings". They had heard it all before. Hackett's solo efforts had always been patchy but had sported some excellent work, like Ace of Wands on "Acolyte", Icarus Ascending (and many others) on "Please Don't Touch" and Every Day and the title-track on "Spectral Mornings". "Defector" however, seemed to be a justified name for the 4th album. Granted, The Steppes is a suitably atmospheric instrumental to set the mood, and Hammer in the Sand is truly beautiful, but the LP can't keep its promises. It really sounds like "Spectral Mornings"-outtakes that were not judged good enough the first time around. Jacuzzi is plain "nice" and Sentimental Institution continues the novelty aspect adopted on the two previous albums, but "nice" is not good enough. Even Kim Poor's cover art completely lacks the creepy quality of "Please Don't Touch" , smacks of lazy repetition and dangerously presages the MOR or FM-Rock clichés in the music. Hackett's playing is brilliant as ever, but the band (so proudly welcomed on the previous album) sound rather tired, bland and formulaic, especially as they do not seem to be given any challenging material to impress the listener with. None of the compositions match the songs mentioned above, no furious intro like Ace of Wands, no magical moments like those with Randy Crawford or Richie Havens on "Please Don't Touch". (Not that you would know the other musicians' names thanks to the crappy, cheap compact price CD repackaging !) "Defector" sounds like an album done on auto-pilot, with creativity and individualism slowly giving way to easy "Hackettisms". And no self-respecting prog-fan could ever forgive Hackett for ripping off Van der Graaf Generator on Slogans ! Check out The Clot Thickens on A Plague of Lighthouse Keepers on "Pawn Hearts" - Shame ! This may sound trivial but it was - and still is - disappointing for a man who really did not need to do that. Still, considering what came later - the execrable "Cured" where two lonely instrumentals save the listener from pointless non-songs and the guitarist's weedy voice and the horrible "GTR" with Steve Howe, both later only redeemed by "Bay of Kings", this deserves three stars for at least going through the motions. And for Hammer in the Sand.

Jean-Marc Lantz from Obercorn , Luxembourg, 20 August, 2002



An superb view of the dark side of romanticism!!

Steve has in this album captured everything that wasn't in Spectral Mornings. This is an album of dark brooding mysticism. Right from the start with The Steppes you are taken to a huge overwelming place of no time. By the end of the first track you are captured. Steve's guitar playing is as always breath taking to say the least, but this time we are taken on a much more Gothic trip. after you have listend to this album you can understand how Dark Town came into existance. There is not a bad track on the album. Jacuzzi reverts back to the pure exuberance of Spectral Mornings. Two Vamps As Guests again emphasizes Steve's pure mastery of the guitar with this beautiful classical piece. This Album is full of rich textures that can envoke every human emotion all contained in one CD. This is a must for any lover of pure guitar based music. If you don't have this album,look at your album rack; there's a space there crying out to be filled.

mad_monk@whsmithnet.co.uk from Malvern Wells, England, 20 February, 2002

L y r i c s

IME TO GET OUT

Find me ninety miles from Cuba
In a land that has no borders
If the bomb can do it for you
We refuse to take your orders
We remember what you taught us
 
Time to get out while you can
 
Twenty three and one half billion
Joints were smoked by lunchtime that Thursday
 
On the Steppes its not so easy
Vodka helps them sing much stronger
Place your bets which side lives longer
 
Time to get out while you can
 
Time to get out while you can
 
La, la, la, la, la, la, la, la
La, la, la, la, la, la, la, la
La, la, la, la, la, la, la, la
La, la, la, la, la, la, la, la
La, la, la, la, la, la, la, la
 
Time to get out while you can



SLOGANS

(Instrumental)

LEAVING

Endless fog and rain
Ground the plane
There an unshaved man
Was exchanged
 
Wonder if a cold grey sky they led me here to die
(You can telephone from here), when you wish
 
(Time to run away from here), won't be missed at all
 
Turn the snow to red
Someone fled
Tell the viewers were
You starved or fed?
 
Running wild a hunted deer, her eyes were filled with fear
(People dream in colour here), so they said
(Shine your shoes from ear to to ear), right or left the west



TWO VAMPS AS GUESTS

(Instrumental)



JACUZZI

(Instrumental)


HAMMER IN THE SAND

(Instrumental)


THE TOAST

Round and round and up and down
Round and round and up and down
Drinking all the wine we found
Not so easy to remain
Steady
Happy
 
Round and round and up and down
Round and round and up and down
Drinking all the wine we found
Not so easy to remain
Steady
Happy
 
Say it soft and say it slow
Tell me what I want to know
Pour it till it overflows
Love may come and love may go
Such a
Pity


THE SHOW

Yes I'm such a simple man
Just put me on the flight
Every day's another place
Playing into the night
 
And you can't unwind
You're wrecked before the show
Everything's fine when
You feel that Johnny go go go - go go
 
Will you play tonight for me?
Promise I'll do my best
Yes, rock music should be free
Money's worth less and less
 
And the walls should be cracked
Four red faces make a noise
All dressed in black
I can't tell if they are girls or boys - or boys
 
Will you play tonight for me?
Promise I'll do my best
Yes, rock music should be free
Money's worth less and less
 
And the walls should be cracked
Four red faces make a noise
All dressed in black
I can't tell if they are girls or boys - or boys
 
Or boys



SENTIMENTAL INSTITUTION

Well, I'll tell you a story
'Bout a girl who came my way
We upped and married
Three kids a dog in Sante Fe
Now she's gone, I'm by myself
 
I'm gonna join
A sentimental institution
I'm gonna pack
Pack all my little blues away
But I didn't stay left on the shelf
 
Mrs. Johnson from Wisconsin
She's a widow, plain to see
And Minnesota from Dakota
Likes the way I make her tea
Sweet as candy
 
I'm gonna join
A sentimental institution
No one to stop me
From playing Benny Goodman all day
So if you want romance
Just step my way
The band starts to play
 
I can thrill her with Glenn Miller
Or a song from Louis Armstrong
With Jim Dorsey or Arty Shaw
Know this magic can't go wrong
 
Old and lovely, she's so wealthy
But so ugly, I've gone crazy
Someone help me, do


 M P 3   S a m p l e s


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