It's official: with Seven, orchestrated for and executed by the London Philharmonic, Tony Banks finally starts atoning for two decades of musical sin. Fans of Genesis (the real Genesis, that is) can heave a collective sigh of relief knowing that Banks has still got it in him somewhere, it's just a question of letting it out.These seven pieces of music bask in the glow of the Genesis of old, and for almost all of them, you could very easily hear in your head Banks playing them unaccompanied on his piano. No, they are not as compositionally sophisticated as Debussy or what have you...but they don't need to be. "Spring Tide" sounds like it stepped out from behind the tree of birds gracing the cover of Wind & Wuthering. Its lush, sad-sweet themes particularly recall the mid-70s period and the introspection of "Mad Man Moon" and "One for the Vine." The stunning beauty of "Earthlight" and clarity of "Neaptide," my favorite pieces on the album, reach back even further to Genesis' discography. These remind me of the first album and Trespass, with melodies that capture the same feelings of innocence, youthfulness, and sky's the limit. Listening to these two in particular is a pure joy; it reminds you of Banks' gift for utilizing just the right relationship of chords and structure, in a way that is simple but of tremendous appeal. Banks also achieves soaring crescendos on "The Gateway," marshy strings on "Black Down," and a stormy gallop that eventually transitions into a majestic waltz on "The Ram."
The orchestral arrangements tend to be dominated by the string section and are conservatively styled, carrying the compositions in a manner that is functional and unobtrusive. These are less varied and less colorful than compared to, say, the arrangements of Tarka, by Banks' ex-bandmate Anthony Phillips, an album where acoustic guitars, oboe, flute, violin all get space to breathe, but are also well-integrated towards dancing with the orchestra. Still, while the arrangements of Seven are not as daring as they could be, to the end they remain pleasing to the ear.
So, welcome back to the land of the living, Tony — you were missed. And don't you go back no more no more...
review by Joe McGlinchey — 1-24-05 —
