The John Hackett Band is a group that is filled to the brim with so much talent that it is no wonder that they have taken their time to release the follow up to their 2017 album We Are Not Alone. The fans might have been impatient for something new to listen to but, being consummate musicians who care about their craft, they have taken their time to get it right. Admittedly Covid might not have speeded up the process but it has been well worth the wait. A dozen superlative tracks that evidence that their combined individual talents are a perfect mix and allow this album to rise above the ordinary; although I have yet to hear anyone accuse them of being that!
The first track, Stella is a love song that seems to challenge the world to take the star filled sky from them, two people filled with the bliss of being together. A gentle and poetic start that gives a tantalising promise of what is to follow. Theme and Rondo might already be familiar to anyone who has seen them in concert as it was introduced in their live set last year. An instrumental that moves up a gear and allows the band to display their skills. It made me think of a piece of Tudor music by Thomas Tallis, if he’d listened to a Traffic or Cream LP. Fun and playful. Who Let the Rain In? is another one that I am familiar with as it has again been used in their live set. A foot tapper which, despite being about greed, poverty and misfortune, manages to be upbeat.
[Photo by Chris Simmons]
A looming keyboard intro from John, before the other instruments join in the sweeping dance that is Clare’s Tango. Almost martial drums, effusive guitars, and pulsing bass ensure that this instrumental does not relent as it takes the listener along on an unpredictable magical mystery tour. As a tango goes, it is a dance I would enjoy.
In case you only work in English currency, the Roman numerals in the title of MDLXXXIX translate to 1589 and refer to the English Armada. Due to its failure it is a small and seldom mentioned chapter in Elizabethan history but it is brought to life in this song, from the perspective of an ordinary sailor who accepts that when there is war, he went; although I am sure that at the time he had little choice or say in the matter. But the promise of a small share in the spoils of war might have helped with the enthusiasm. Words of despair at fear of the end along with and missing his love who is safe on the shores of England. Heart rending lyrics with the combined instruments ensuring that the listener’s pulse can keep racing as the picture of the battle is painted in the mind. The longest track on the album and it needed to be to fit it all in.
I Talk to the Wind, a King Crimson classic is already a fan favourite when they are on stage. Homage to the flute talent of Ian McDonald that does him justice. Beautiful in its peaceful combination of John Hackett’s own flute playing and Jeremy Richardson’s delicate singing, accompanied here, as has been the case live, by the delightful voice of Amy Birks. Not a pointless note-for-note, breath-for-breath cover, this version brings a delicate tone that adds to its feel while respecting the original.
Too Easy is initially a pleasant ballad, with John taking over lead vocal duties from Jeremy, but, like a horse on its daily exercises, it starts off at a gentle pace before reaching an open field and then it picks up the pace and has a good and energetic run, before the reins are slightly tightened and the beast returns to a safer pace. Nick Fletcher and Jeremy Richardson have fun and it shows.
The Committee is a prime example of how a song writer can mean one thing in the lyrics but the listener can read totally different things into them. In this case I had listened to the song, read the words and saw it as a song about a time of peace, yet planning for war. A dystopian picture where objections were a crime and decisions seem to be remote and out of the individual’s control; as if that could ever become a reality today! However, after I had completed most of the review, I was reliably informed that Duncan Parsons had penned it as an opinion piece about the Warboys Committee and how they standardised road signs in 1963. With all due respect to him I think I prefer my interpretation. But I am sure that, now you know the truth, you will not be able to listen to this song and be able to avoid having deep and meaningful thoughts about the ‘Traffic signs: report of the committee on traffic signs for all-purpose roads’ document. You could read it but I am still waiting for the movie. 🙂
[Photo by Laura Hackett]
Brotherhood is an instrumental that seems to offer a message to the listener, simple but effective. “We love to play music and want you to enjoy listening to it too”. Which leads into Butterfly Banshee, starting with Nick Fletcher playing a delicate intro reminiscent of The Beach Boys or The Tremeloes before Jeremy’s lyrics tell the tale of life from the perspective of a caterpillar turning into a butterfly. The pain of the new existence where everything seems so big loud and daunting. Perhaps a metaphor for youth and finding a place in the world? A wonderful song that had my feet tapping.
I have long maintained that John Hackett’s flute playing, at its most delicate, has a quintessentially English feel to it. To me it always evokes thoughts of long lost lazy summer days when cares and worries were things that other people had and all I had to worry about was when the ice cream van would be driving past my garden. It isn’t just the title, A Country Gentleman, that makes me think this and they could have left out a track name and such thoughts would have still been there. This could easily have been a classical piece of music by Poulenc or Debussy.
The final track that gives the album its title, Red Institution, has lyrics that, if studied too closely are dark enough to make Marvin the Android feel distinctly depressed. Despair filled words of oppression along with the lack of love and compassion, yet they are delivered in such an infectious way that the message is not wrapped around a preachy and obtrusive sledgehammer. Up-tempo? Yes. Brilliant musicianship? Definitely, that goes without saying! And will I play this again and again? You bet your sweet donkey I will.
I know that in my granular review and, other than mentioning him as a specific writer of The Committee, I have not really given Duncan Parsons any specific namechecks in any of the details of the songs. That is not an insult to his skill or lack of presence. It is just that, in the same way he is when they play live, he is always there in every track, like the backbone of a mighty beast or the glue that keeps it all together. There are no long and grandiose Ginger Baker type drum solos to try and upstage the others, he doesn’t need to do those to prove his worth. But I have always felt that he is an irreplaceable member of the band and without him they would not be the entity that they are.
The John Hackett Band will be touring again this year, and they have hinted at a few surprises, so I am definitely looking forward to hearing many of these tracks played live. If you are a fan you know you will not be disappointed in the album or concerts and, if you are unfamiliar with them, now is the time to be educated.
TRACK LISTING
01. Stella (5:22)
02. Theme & Rondo (4:27)
03. Who Let The Rain In? (5:39)
04. Clare’s Tango (3:41)
05. MDLXXXIX (7:52)
06. I Talk To The Wind (6:02)
07. Too Easy (5:43)
08. The Committee (6:58)
09. Brotherhood (2:53)
10. Butterfly Banshee (5:55)
11. A Country Gentleman (4:44)
12. Red Institution (5:05)
Total Time – 64:21
MUSICIANS
John Hackett – Flutes, Lead Vocal (7), Backing Vocals, Keyboards, 12-String Guitar
Nick Fletcher – Guitars
Jeremy Richardson – Bass, Lead & Backing Vocals, Keyboards, Acoustic, 12-String & Electric Guitars
Duncan Parsons – Drums, ‘the odd synth’
~ With:
Amy Birks – Vocals (6)
ADDITIONAL INFO
Record Label: Hacktrax
Country of Origin: UK
Release Date: 11th April 2025
LINKS
John Hackett Band – John Hackett Website | Facebook | YouTube | X
