I could write a long passage telling any reader, who is not familiar with him, all about John Hackett’s varied musical career. Going from his work with Quiet World in 1970, appearing on early Anthony Phillips albums along with his many collaborations and appearances with his brother Steve, but that does nothing to help me describe Checking Out Of London.
Being a fan of John and his varied output, I had been looking to get hold of this album for a long time but, since its release in 2005, it has been long out of circulation and copies on eBay were far too steep for my canny Yorkshire financial acumen. However, its recent release as a digital download, gave me the impetus to search for a CD copy that wouldn’t leave me with just one arm and one leg. Eventually I found a copy that stretched my wallet but still had me happy that I was buying it. So, here I now am, ready, able and more than willing to review it.
Despite hearing a couple of the tracks played by the John Hackett Band (JHB) I knew enough to know that one of John’s albums is not always predictable, with the only truly predictable things being its quality and musicianship.
Then there is the difficult process of rating it. Some albums, and groups, capture a zeitgeist and irrespective of quality they become standards for what is, or is not, good, whether they are deserving of accolades or not. And to disparage them can be seen as heresy. There are a couple of Beatles albums that I feel belong in that category and would be better served as being turned into arty wall clocks but that discussion is for another time and place. Then there are other artists and albums that slip under people’s radars when they should be part of everyone’s collection and be lauded as truly great. It is hard to find a bad album with John Hackett’s fingerprints on it which makes my next statement contentious and will require a thorough defence, but I am going to say it anyway. This is the best thing that John Hackett has ever done.
And the reasons for this are many. John has been lucky to have founded his own eponymous band who are like diamonds in a crown and be they live or on record the word magnificent would not be an sufficiently adequate superlative for them. But Checking Out Of London is hardly lacking in its own retinue of talent. After all such musicians as Steve Hackett, Nick Magnus and Tony Patterson are hardly lightweights and any of them appearing on anyone’s album would lift it above the ordinary.
Then there is the album itself. Sometimes analysing art in words can fail to capture the beauty that it is trying to describe. After all someone could talk for hours on the skill and technique of pointillism paintings and never be able to convey the sheer beauty of Georges Seurat’s ‘Un dimanche après-midi à l’Île de la Grande Jatte‘ (A Sunday Afternoon on the Island of La Grande Jatte)’ painting. A problem that I would face is I did a simplistic isolated song by song review of this album, notes and tempo while missing the truly important details. Instead, I will have to tell you of the emotional journey that listening to this album takes me on.
I am not sure if it is meant to be a concept album telling a story or the songs are just randomly put together so that they accidentally create a narrative but, to me, they are in the right order and work. Allowing my imagination to follow a path, whether it really existed or not.
Starting with the Last Train, like a great novel, I was drawn into the story and the exposition. A tale of missing someone and the end was like the completion of a story’s chapter that left me wanting to know what happens next. The next being The Hallway and the Pram. An upbeat song but on giving the lyrics the listen that they deserve, there is darkness and despair that in a slower tempo and tone would drag even the most optimistic person into despair. But, partly thanks to Steve Hackett’s harmonica playing, this is no Smith’s song, so it avoids letting the maudlin take over. With a sound like Led Zeppelin, if they were deliberately holding back and afraid to turn it up to 11, Ego & Id carries on the theme of isolation and adds loneliness to the mix. But I was too busy rocking out to care about the darkness of the lyrics.
Although it is vague in its message, DNA hints at missing someone and fears that distance and absence might not be strong enough to last. Carried along with a guitar break that would not be out of place on a Santana album. Then comes Fantasy, perhaps my favourite song on the album, but that is probably because it resonates with my current situation. A brief story of a long-distance love, where messages can fill the heart and mind while imagination fills in the gaps between actual contact and lonely nights.
If you have seen the John Hackett Band, you’ll probably be familiar with Dreamtown. A great song that can stand its ground as just another song in the live set, but the original version is slower and, thanks to that, it is more emotionally powerful. Accepting loneliness, made even more impactful thanks to Tony Patterson’s vocals, making it feel like a Peter Gabriel song.
If what I have described so far is bleak, then it is a Pandora’s box, and there is hope as well. Headlights cranks up the tempo as it takes the listener on the road which looks like it could take the driver home. Winter is less a song about the season rather than the possible end of a relationship and dealing with thoughts, and dreams, of the lost love in the arms of another. Sadness has never sounded so beautiful. Whispers is another regular in the JHB setlist. A tale of fame that can easily fall from grace.
Although it could never be accused of being a reggae song there is a subtle vibe that makes More feel like it would have worked if recorded by Bob Marley or Sly & Robbie. A great song that conveys the emptiness of being on the road. A song enhanced thanks to Steve Hackett’s powerful guitar playing. Hopefully this will find its way onto the JHB setlist at some point as I’d love to see it performed live.
Dust doesn’t let up on the emotional turmoil. Usually, people focus on John Hackett’s flute playing but they overlook his musical ability which takes in guitar, keyboards and, especially outstanding on this track, his vocal talents. He sings about the frailty and impermanence of love, and you are left believing it. Finally, the emotional journey ends with Checking Out of London. Soft and gentle it is, seemingly, an ambiguous suicide note that could, alternatively, be a veiled acceptance that London is not home.
There you have it. The album is not an up-tempo record that will have you dancing around the kitchen, but there are plenty of alternative bands, and CDs, available if you want that. However, if you are wanting thought provoking lyrics wrapped in exceptionally beautiful music then this is well worth a visit. Maybe you’ll interpret the album differently to me but that is what makes some music so wonderful, it can mean anything to anyone. It took me long enough to get hold of this album on CD, but it was well worth the wait, and the price.
TRACK LISTING
01. Last Train (4:42)
02. The Hallway and the Pram (4:13)
03. Ego & Id (4:00)
04. DNA (4:13)
05. Fantasy (2:54)
06. Dreamtown (5:18)
07. Headlights (4:05)
08. Winter (3:54)
09. Whispers (3:46)
10. More (5:48)
11. Dust (4:02)
12. Checking Out Of London (2:40)
Total Time – 50:03
MUSICIANS
John Hackett – Lead Vocals, Lead, Acoustic & Bass Guitars, Keyboards
Steve Hackett – Lead Guitar, Harmonica
Nick Magnus – Drums, Keyboards
Tony Patterson – Lead & Backing Vocals
Nick Clabburn – Lyrics (1-10 & 12)
ADDITIONAL INFO
Record Label: Independent
Country of Origin: UK
Date of Release: 7th February 2005 (Physical) | 4th December 2025 (Digital)
LINKS
John Hackett – Website | Facebook | Bandcamp | YouTube
