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Spectral Mornings
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| Spectral Mornings | ||||
|---|---|---|---|---|
 | ||||
| Studio album by | ||||
| Released | May 1979 | |||
| Recorded | January–February 1979 | |||
| Studio | Phonogram Studios, Hilversum, The Netherlands | |||
| Genre | Progressive rock | |||
| Length | 39:03 | |||
| Label | Charisma (UK, Europe & Japan) Chrysalis (United States) | |||
| Producer | John Acock, Steve Hackett | |||
| Steve Hackett chronology | ||||
| ||||
| Review scores | |
|---|---|
| Source | Rating |
| Allmusic |    [1] |
| Music Week | [2] |
Spectral Mornings is the third studio album by English guitarist and songwriter Steve Hackett, released in May 1979 on Charisma Records. It is his first to feature members of his touring band, which many Hackett fans consider as the "classic line-up". The musicians are his brother John Hackett, Nick Magnus, Dik Cadbury, John Shearer, and Pete Hicks.
In 2005, Spectral Mornings was remastered and re-released on Virgin Records. The new edition features updated liner notes and bonus tracks. A new 5.1 surround mix of the album by Steven Wilson is included in Hackett's 2015 compilation box set Premonitions: The Charisma Recordings 1975–1983. In 2015, Hackett appeared on a re-recorded version, "Spectral Mornings 2015", with new lyrics written by David Longdon of Big Big Train, and sung by Longdon and Christina Booth of Magenta. Proceeds from the track on release went to Parkinson's Society UK.[3]
Background
[edit]After the release of his previous album, Please Don't Touch!, in 1978, Hackett wished to tour the material from the album along with material from his previous solo album, Voyage of the Acolyte.[4] This meant that he needed to assemble a touring band since the personnel on Please Don't Touch! had essentially consisted of guest musicians. The band that he created for this purpose became the band that he used in the studio for Spectral Mornings and the following album, 1980's Defector.
Recording
[edit]"Clocks - The Angel of Mons" and the title track were both written and performed live on the Please Don't Touch tour prior to the album's recording. Elements of the intro performed going into "Please Don't Touch" later became parts of "Tigermoth".
The album was recorded at Phonogram Studios in Hilversum in the Netherlands between January and February 1979. Hackett later remarked "It was 15 degrees below zero and all the lakes and canals were frozen... The weather was so bad that all we could do was apply ourselves to work. The studio was at Phonogram Records' headquarters and it felt as though it was in its own world. We played night and day and combined this activity with partying like crazy. The sessions were intense and the album was recorded with very little sleep. We all got a tremendous buzz from recording it as we felt that it would be well received. I was confident when I finally played the final masters to Tony Stratton-Smith at Charisma as I thought we'd done a great job."[5]
This is the second album for which Hackett used a Roland GR-500 Guitar Synthesizer. It can be heard on two tracks: "The Virgin and the Gypsy" and "Tigermoth".
Lead vocals on most of the album were provided by Pete Hicks, which were very often backed with harmonies by Steve Hackett and Dik Cadbury. Cadbury arranged the harmony vocals, having been trained as a counter tenor (falsetto) singer.[4] Hackett himself sings lead on "The Ballad of the Decomposing Man".
Songs
[edit]Side one
[edit]The album starts with "Every Day" which is an anti-drug song about Steve's own experiences of the drug culture when his first girlfriend fell victim to "Cleopatra's Needle", and it would become his signature song from his solo career with a guitar solo at the track's coda.
"The Virgin and the Gypsy" was inspired by the novella of the same name. It has an acoustic folk sound with vocal harmonies, twelve tracks of 12-string guitars mixed together, a guitar synthesizer solo, harpsichord and double-tracking flutes solos. Parts of the song were previously recorded in sessions for Please Don't Touch in an instrumental called "Seven of Cups".
"The Red Flower of Tachai Blooms Everywhere" was inspired by east-Asian culture. Hackett plays a Cantonese koto on the track, accompanied by a Mellotron imitating a Japanese singer, flute and gong percussion. This track would later be listed under alternate spellings ("Ta Chai" or "Tai Chi") on subsequent live albums.
"Clocks - The Angel of Mons" was considered for a horror movie soundtrack. Drummer John Shearer plays a long drum solo at the climax of the track, the power of which Hackett compared to sounding like "being trampled by elephants". John Hackett plays a Moog Taurus bass pedal synthesizer on this track using his hands as opposed to his feet. The track is often listed on live albums under the shortened title "Clocks."
"The Ballad of the Decomposing Man" is sung by Hackett in a tongue-in-cheek George Formby-style, in which Hackett displays a sense of humour like songs on the previous Genesis albums with Peter Gabriel such as "Harold the Barrel". Hackett also plays the harmonica for the first time on his albums in this track. The second half of the song, "The Office Party" was played in a calypso style with a lot of percussion, violin from bassist Dik Cadbury and comical speaking.
Side two
[edit]Side two opens with "Lost Time in Cordoba" which is a classical guitar and flute duet, in a style similar to Hackett's future classical guitar albums such as Bay of Kings.
"Tigermoth" is a ghost story told from the perspectives of several pilots from the Second World War, shot down whilst flying planes of the same name. The first half of the track has a dramatic feel with jarring Mellotron chords, bass pedals and guitar synthesizer. The acoustic second half contains Hicks's vocals and a lullaby ending.
The album finishes with the title track, which began life as a vocal piece. However, after Hackett played the vocal melody to his band on the guitar, Pete Hicks decided that the track sounded "great as it is", telling Hackett to "keep the piece as an instrumental", leading Hackett to joke later on that Hicks talked himself out of a job on the track. It has become his signature instrumental from his solo career. Many progressive rock guitarists, such as Steve Rothery (from Marillion), consider this track to be an inspiration.
Track listing
[edit]All tracks are written by Steve Hackett, except where indicated.
| No. | Title | Length |
|---|---|---|
| 1. | "Every Day" | 6:14 |
| 2. | "The Virgin and the Gypsy" | 4:27 |
| 3. | "The Red Flower of Tachai Blooms Everywhere" | 2:05 |
| 4. | "Clocks - The Angel of Mons" | 4:17 |
| 5. | "The Ballad of the Decomposing Man (featuring "The Office Party")" | 3:49 |
| No. | Title | Length |
|---|---|---|
| 1. | "Lost Time in Córdoba" | 4:03 |
| 2. | "Tigermoth" | 7:35 |
| 3. | "Spectral Mornings" | 6:33 |
2005 remaster bonus tracks
[edit]| No. | Title | Length |
|---|---|---|
| 1. | "Every Day (Alternate Mix)" | 7:08 |
| 2. | "The Virgin and the Gypsy (Alternate Mix)" | 4:29 |
| 3. | "Tigermoth (Alternate Mix)" | 3:19 |
| 4. | "The Ballad of the Decomposing Man (Alternate Mix)" | 4:23 |
| 5. | "Clocks (12" Single Version)" | 3:37 |
| 6. | "Live Acoustic Set (Etude in A Minor, Blood on the Rooftops, Horizons, Kim)" | 5:40 |
| 7. | "Tigermoth (Live version)" | 3:58 |
| 8. | "The Caretaker" ("The Caretaker" was a hidden joke track that had appeared on some early CD copies of the album. It features the vocalist Pete Hicks,[6] here as a studio cleaner, being angry with the musicians about the mess that they made working in the studio.) | 1:41 |
Personnel
[edit]- Steve Hackett – electric and acoustic guitars, Roland GR-500 guitar synthesizer, lead vocals and harmonica on "The Ballad of the Decomposing Man", harmony/backing vocals on "Every Day" and "The Virgin and the Gypsy", koto on "The Red Flowers of Tachai Blooms Everywhere"
- Pete Hicks – lead vocals on "Every Day", "The Virgin and the Gypsy", and "Tigermoth"
- Dik Cadbury – bass guitar, harmony/backing vocals on "Every Day", "The Virgin and the Gypsy", and "Tigermoth", Moog Taurus bass pedals, violin on "The Ballad of the Decomposing Man"
- Nick Magnus – keyboards, Vox String Thing, Novatron, clavinet, Fender Rhodes & RMI electric pianos, Minimoog, Mini-Korg 700, Roland String Synth RS-202 & SH-2000, harpsichord on "The Virgin and the Gypsy"
- John Hackett – flute, bamboo flute on "The Virgin and the Gypsy", Moog Taurus bass pedals on "Clocks - The Angel of Mons"
- John Shearer – drums, percussion
Tour
[edit]Hackett toured the album with the same band in 1979. A recording of an entire show on this tour, performed at the Hammersmith Odeon, is found on Discs 1 and 2 of Live Archive 70s 80s 90s, released in 2001. The following day's show at the New Theatre, Oxford was also recorded, but that show's recording remained unreleased until 2015, when they were eventually released as part of the Premonitions: The Charisma Recordings 1975-1983 boxset.[5]
In 2019, to mark the 40th anniversary of the album's release, Hackett toured most of the songs from the album, as the first set of his "Genesis Revisited 2019" tour.
Charts
[edit]| Chart (1979) | Peak position |
|---|---|
| Swedish Albums (Sverigetopplistan)[7] | 30 |
| UK Albums (OCC)[8] | 22 |
| US Billboard 200[9] | 138 |
References
[edit]- ^ Connolly, D. "Spectral Mornings – Steve Hackett | AllMusic". allmusic.com. Retrieved 25 July 2011.
- ^ "Album Reviews: Steve Hackett — "Spectral Mornings"" (PDF). Music Week. Gwent: Pensord Press Ltd. 12 May 1979. p. 34. Archived (PDF) from the original on 25 August 2024. Retrieved 27 March 2025 – via WorldRadioHistory.com.
- ^ "Spectral Mornings 2015: Charity EP for Parkinson's Society UK". Cherry Red Records. Retrieved 20 February 2019.
- ^ a b Hackett, Steve, Spectral Mornings 2005 Remaster liner notes, 2005. EMI
- ^ a b Hackett, Steve, Premonitions: The Charisma Recordings 1975 – 1983 liner notes, 2015. Virgin Records
- ^ Sketches of Hackett: The Authorised Steve Hackett Biography, by Alan Hewitt, Wymer Publishing, ISBN 978-0-9557542-3-4
- ^ "Swedishcharts.com – Steve Hackett – Spectral Mornings". Hung Medien. Retrieved February 20, 2024.
- ^ "Official Albums Chart on 27/5/1979 – Top 100". Official Charts Company. Retrieved February 20, 2024.
- ^ "Steve Hackett Chart History (Billboard 200)". Billboard. Retrieved February 20, 2024.
Spectral Mornings
View on Grokipediafrom Grokipedia
Development
Background
Spectral Mornings is the third solo studio album by English guitarist Steve Hackett, released in 1979, following his 1978 album Please Don't Touch! and marking a pivotal point in his post-Genesis career as he transitioned toward a more unified band sound. After departing Genesis in 1977, Hackett pursued solo projects that allowed greater creative freedom, with Spectral Mornings representing his effort to build on the eclectic collaborations of Please Don't Touch!—which featured guest artists like Richie Havens and Randy California—by emphasizing a cohesive ensemble approach rooted in progressive rock traditions.[5][6] The album was conceived in late 1978, amid Hackett's ongoing exploration of independent artistry after leaving the progressive rock giants Genesis, where he had contributed to albums like Selling England by the Pound (1973) and The Lamb Lies Down on Broadway (1974). Motivated by a desire for material that captured the dynamic interplay of a dedicated touring group rather than disparate studio guests, Hackett sought to revive his progressive rock foundations while avoiding the "uneven" feel of his earlier solo efforts.[7][5] This shift led to the formation of what became known as Hackett's "classic lineup," assembled initially in 1978 to support live performances of his prior solo material before evolving into the core recording band for Spectral Mornings. The group included Hackett's brother John Hackett on flute and winds, keyboardist Nick Magnus, bassist Dik Cadbury, drummer John Shearer, and vocalist Pete Hicks, creating a stable unit that enabled the album's integrated sound.[8][1]Recording
The recording of Spectral Mornings took place from January to February 1979 at Phonogram Studios in Hilversum, Netherlands.[2][9] The sessions unfolded over an intense month-long period during a harsh winter, with temperatures dropping to sixteen degrees below zero and deep snow complicating access to the studio.[2][9] Produced by John Acock and Steve Hackett, the process involved long hours with minimal sleep, interspersed with partying, which contributed to a raw and energetic atmosphere captured in the performances.[2][9] This high-energy approach emphasized a live-band feel, allowing the core lineup—featuring Hackett on guitars alongside bandmates—to develop and refine arrangements spontaneously during tracking.[9] A key production decision was the prominent use of the Roland GR-500 guitar synthesizer, which Hackett employed to create innovative sonic textures throughout the album, building on its introduction in his prior work.[9][10] Vocal arrangements centered on Pete Hicks delivering lead vocals, supported by multilayered harmonies from Hackett and bassist Dik Cadbury, with Cadbury handling much of the harmonic structuring to enhance the album's dynamic vocal layers.[9][11]Composition
Musical style
Spectral Mornings is classified as a progressive rock album incorporating art rock elements, drawing on the intricate compositions from Steve Hackett's tenure with Genesis while incorporating more straightforward song forms for broader appeal.[12][7][9] The album's sound highlights Hackett's multifaceted guitar work—spanning acoustic, electric, and synthesized tones—complemented by flute, keyboards including Mellotron and Mini Moog, bass, and drums, which integrate classical, folk, and rock traditions into a cohesive progressive framework.[9] Thematically, it explores anti-drug sentiments through motifs of decomposition, reflections on war inspired by historical events, evocations of exotic locales via Spanish and Chinese musical influences, and touches of whimsical humor in its satirical elements.[9] Clocking in at 39:03, the record adheres to the vinyl LP format with evenly distributed sides, prioritizing instrumental virtuosity and atmospheric depth over vocal dominance, featuring four sung tracks alongside four purely instrumental pieces.[12][9]Songs
The album Spectral Mornings is divided into two sides on its original vinyl release, with Side One (tracks 1–5) featuring more vocal-driven songs that blend progressive rock elements with personal and narrative themes, while Side Two (tracks 6–8) shifts toward instrumental compositions emphasizing atmospheric and ethnic influences.[9] "Every Day" opens the album as an energetic track structured in two parts: a vocal section addressing drug addiction through lyrics depicting emotional erosion and dependency, followed by an instrumental outro with a powerful guitar solo. Inspired by Hackett's relationship with a girlfriend struggling with substance abuse, the song features a driving riff, crisp drums, and a bass groove reminiscent of Mike Rutherford's style, building to an elegiac fade-out.[9][13] "The Virgin and the Gypsy" follows as a gentle, folky acoustic ballad with verses alternating between vocals and an instrumental break, drawing its title from D.H. Lawrence's novella though not adapting its plot directly. The arrangement highlights 12-string guitar, harmonious multi-voice vocals arranged by bassist Dik Cadbury, and a flute duet over shaker percussion, creating a lush, drum-free soundscape.[9] "The Red Flower of Tachai Blooms Everywhere" is a brief instrumental paying homage to Chinese cultural motifs, incorporating Cantonese koto, keyboards, and gong to evoke Far Eastern folk traditions. Named after a Mao-era slogan promoting the Tachai agricultural model, it serves as a concise, experimental interlude blending Western progressive elements with non-Western instrumentation.[9] "Clocks – The Angel of Mons" is a war-themed instrumental driven by a ticking clock rhythm simulated partly on guitar, referencing the World War I legend of angelic apparitions at the Battle of Mons. It features driving drums leading into a solo section described as elephantine in intensity, with unrestrained guitar work over a gloomy, rhythmic foundation that made it a staple live closer.[9][13][14] "The Ballad of the Decomposing Man" delivers a humorous, satirical take on drug abuse through whimsical lyrics and stylistic shifts from Western swing to calypso, parodying George Formby without deeper intent. The track incorporates mouth organ, honky-tonk clavinet, steel drums, and violin for a vaudeville quirkiness, including tongue-in-cheek asides and absurd musical transitions as a lighthearted musical joke.[9][13][14] "Lost Time in Córdoba" transitions to Side Two as an instrumental acoustic piece influenced by Spanish classical guitar traditions, evoking the Moorish history of the Andalusian city through nylon-string fingerpicking and flute accompaniment. Its romantic, Erik Satie-like structure includes a synthesizer solo, showcasing Hackett's guitar prowess in a delicate, rarely performed live setting.[9][14] "Tigermoth" builds as an epic with an instrumental opening of fast guitar runs over a keyboard blanket, evolving into a vocal section with waltz rhythms and lyrics in doggerel form depicting World War II biplane heroism aboard the Tiger Moth aircraft. Unique features include a funfair organ, transcendent flute, abstract synth layers, and a crashing finale, often adapted instrumentally in live performances for its dynamic shifts from urgency to ethereal calm.[9][14] The title track "Spectral Mornings" closes the album as a majestic instrumental anthem, structured around solemn electric guitar melodies with lush keyboards, triplet-based drums, and hi-hat rhythms evoking a dawning atmosphere. Originally conceived with vocals but revised to instrumental form on suggestion, it expands on Hackett's Genesis-era "Firth of Fifth" style through layered textures and breathtaking guitar focus.[9][14]Track listing
Original release
Spectral Mornings was released in May 1979 as a vinyl LP album by Charisma Records in the United Kingdom, Europe, and Japan, and by Chrysalis Records in the United States.[1][15] The original track listing is as follows, with Side One comprising tracks 1–5 (totaling 20:42) and Side Two comprising tracks 6–8 (totaling 18:05).[16] Side one- "Every Day" – 6:09
- "The Virgin and the Gypsy" – 4:28
- "The Red Flower of Tachai Blooms Everywhere" – 2:05
- "Clocks – The Angel of Mons" – 4:14
- "The Ballad of the Decomposing Man" – 3:46
6. "Lost Time in Córdoba" – 4:05
7. "Tigermoth" – 7:30
8. "Spectral Mornings" – 6:30
Reissues and bonus tracks
The 2005 remaster of Spectral Mornings, released by Virgin Records, expanded the original album with eight bonus tracks, including alternate mixes and live recordings. These additions comprised "Every Day (Alternate Mix)" (7:09), "The Virgin and the Gypsy (Alternate Mix)" (4:29), "Tigermoth (Alternate Mix)" (3:19), "The Ballad of the Decomposing Man (Alternate Mix)" (4:23), "Clocks – The Angel of Mons (Single Version)" (3:37), a "Live Acoustic Set (Medley)" (5:39), "Tigermoth (Live)" (3:58), and the hidden joke track "The Caretaker" (1:41).[11][7] In 2015, Spectral Mornings was included in Steve Hackett's comprehensive retrospective box set Premonitions: The Charisma Recordings 1975–1983, which featured a new 5.1 surround sound mix of the album produced by Steven Wilson, alongside the remastered original stereo version and additional bonus material.[17][18] That same year, a charity re-recording titled "Spectral Mornings 2015" was released as a limited EP to benefit Parkinson's UK, featuring updated lyrics and vocals by David Longdon of Big Big Train, with contributions from producer Rob Reed, Christina Booth, Nick Beggs, and Nick D'Virgilio.[19][20] A standalone 2016 deluxe CD/DVD edition by Virgin Records included the 2005 remastered edition with its bonus tracks, alongside a new stereo mix and 5.1 surround sound mix of the original album produced by Steven Wilson, while expanded versions of the album, including up to 16 tracks with bonuses, became available for streaming on platforms such as Spotify and Apple Music.[21][22]Production
Personnel
The personnel for Spectral Mornings consisted of the core band members who contributed to the album's instrumentation and vocals, along with production support.[1][3]- Steve Hackett – electric guitar, acoustic guitar, Roland GR-500 guitar synthesizer, vocals, harmonica, koto[1]
- Pete Hicks – lead vocals[21]
- Dik Cadbury – bass guitar, vocals, violin[1]
- Nick Magnus – keyboards (organ, piano, synthesizers including Vox String Thing, Novatron, RMI, Mini Moog, Roland string synthesizer, SH-2000), harpsichord, clavinet, Fender Rhodes electric piano[1]
- John Hackett – flute (concert and Chinese bamboo models), bass pedals[1]
- John Shearer – drums, percussion[1]
Technical production
The production of Spectral Mornings was led by co-producers John Acock and Steve Hackett, who prioritized capturing the raw energy of live-room performances to infuse the album with a dynamic, immediate feel.[9] Engineering duties were handled by Acock, who recorded and mixed the album at Phonogram Studios in Hilversum, Netherlands, employing extensive multi-tracking techniques to layer guitars and integrate synthesizers seamlessly into the progressive rock arrangements.[23][21] A key innovation was the incorporation of the Roland GR-500 guitar synthesizer, which Hackett used to create hybrid guitar-synth textures, notably on tracks like "The Virgin and the Gypsy," enhancing the album's lush, atmospheric prog aesthetic.[16][10] The original vinyl mastering was performed by Kevin Metcalfe, ensuring a balanced dynamic range suitable for the era's analog pressing standards.[24] In 2005, Virgin Records issued a remastered edition that applied digital restoration processes to improve clarity and reduce noise while maintaining the core analog sound integrity of the original recordings.[11]Promotion
Release
Spectral Mornings was released in May 1979 by Charisma Records in the United Kingdom, Europe, and Japan. In the United States, the album was issued by Chrysalis Records under catalog number CHR 1223. The release followed the completion of recording sessions earlier that year, marking Steve Hackett's third solo studio album after departing from Genesis. The album was primarily distributed as a vinyl LP format, with standard 12-inch records featuring gatefold sleeves in most regions. Initial singles included "Every Day," released as a promotional 7-inch single backed with "Lost Time in Córdoba," aimed at radio play and fan engagement.[25] Promotional strategies focused on prog rock audiences through press kits, full-page magazine advertisements, and tour date announcements, leveraging Hackett's established reputation from his Genesis tenure to highlight his solo evolution. The album's artwork, a painting by Hackett's then-wife Kim Poor, depicted ethereal, mist-shrouded landscapes evoking spectral morning themes, aligning with the record's atmospheric title and musical motifs. Distribution varied regionally: UK pressings featured Charisma's blue labels, while US versions were pressed at facilities like Santa Maria with Chrysalis branding; Japanese editions included obi strips and were handled by Nippon Phonogram under the Charisma imprint, catalog RJ-7601. These variations in packaging and labeling ensured tailored market presentation without altering the core content.Tour
The 1979 tour supporting Spectral Mornings commenced in late spring and extended through the summer and into autumn, encompassing approximately 45 performances primarily across the United Kingdom and Europe.[26] The tour featured the same lineup as the album's recording sessions, including Steve Hackett on guitars and vocals, Dik Cadbury on bass and vocals, John Hackett on flute and nylon-string guitar, Nick Magnus on keyboards, John Shearer on drums, and Peter Hicks on vocals.[27] Setlists emphasized material from Spectral Mornings, such as the live debuts of the title track and "Tigermoth," alongside selections from Hackett's prior solo albums like Please Don't Touch and Genesis tracks including "Watcher of the Skies" and "Firth of Fifth."[28] Key venues included the Hammersmith Odeon in London on June 30, where the full set was later released as part of the 2001 compilation Live Archive 70's, 80's, 90's, capturing the band's energetic translation of the album's intricate arrangements to the stage.[29] Other notable stops were the New Theatre in Oxford on July 1, the Audimax in Hamburg on June 9, and the Reading Festival on August 25, highlighting the tour's focus on progressive rock audiences in both intimate theaters and larger festival settings.[30][31][32] In 2019, Hackett marked the 40th anniversary of Spectral Mornings during his Genesis Revisited tour, incorporating album tracks like "Spectral Mornings" and "Tigermoth" into performances, with the final UK show at the Eventim Apollo (formerly Hammersmith Odeon) on October 24 yielding the live release Selling England by the Pound & Spectral Mornings: Live at Hammersmith.[33][34]Performance and reception
Charts
Spectral Mornings achieved moderate commercial success upon its release, peaking at number 22 on the UK Albums Chart and spending 11 weeks in the top 100.[35] This marked the album's strongest performance in Hackett's home market to that point, peaking higher than his previous solo releases.[36] In the United States, the album reached number 138 on the Billboard 200 chart in July 1979. It debuted at number 148 before climbing to its peak and remained on the chart for several weeks, underscoring its appeal within progressive rock circles amid a broader shift toward post-punk and new wave genres.[37]| Country | Chart | Peak Position |
|---|---|---|
| United Kingdom | UK Albums Chart | 22 |
| United States | Billboard 200 | 138 |