Please Don't Touch! (1978)

Personnel:

Steve Hackett: electric guitar, acoustic guitar, Roland GR-500 guitar synthesiser; vocals on 'Carry On Up the Vicarage', backing vocals, keyboards, percussion

John Hackett: flute, piccolo, bass pedals, keyboards

Tom Fowler: bass

Chester Thompson: drums, percussion

John Acock: keyboards

Additional personnel:

Steve Walsh: lead vocals on 'Narnia, 'Racing in A'

Richie Havens: lead vocals on 'How Can I?', 'Icarus Ascending', percussion

Randy Crawford: lead vocals on 'Hoping Love Will Last'

Phil Ehart: drums, percussion on 'Narnia', 'Racing in A'

Dave Lebolt: keyboards

Hugh Malloy: cello

Graham Smith: violin

James Bradley: percussion

Maria Bonvino: female soprano on 'Hoping Love Will Last'

Feydor: vocals on 'The Voice of Necam'

Dan Owen: vocals on 'Icarus Ascending'

Dale Newman: vocals on 'Icarus Ascending'

Produced by John Acock, Steve Hackett

Engineered by John Acock

Recorded at: Kingsway Recorders, London; Cherokee Studios, Hollywood, California; Record Plant, Los Angeles; De Lane Lea Studios, Soho, London

Recording date: November 1977 - February 1978

Release date: May 1978

Record label: UK: Charisma Records, USA: Chrysalis Records

Highest chart places: UK: 38, USA: 103

Running time: 38:35

In the summer of 1977, during the mixing of the Seconds Out live album, Steve gave notice that he was quitting Genesis. Following the success of Voyage of the Acolyte, he had been writing an increasing number of songs and had argued that the Wind & Wuthering album should contain an equal share of his material. Unable to continue working within the constraints of a band co-operative and harbouring a desire for greater autonomy, Steve took his leave in October. He wanted to diversify, exploiting his guitar and songwriting talents to the full. He had also learnt a good deal about production from the first album and wanted to experiment with his own ideas.

He immediately set about recording his second album. Some of the songs included had been intended for Genesis while others were written specifically for the album. As was common practice for Steve, the songs were mostly written on nylon guitar, but he took a more eclectic approach this time, combining the melodic, prog-rock style of the first album with a more radio- friendly, AOR sound. The tracks were generally more song-based and Steve spent six weeks or so recording in Los Angeles before returning to London to complete the album, while several guest singers from America were engaged to give the album a transatlantic sound. He also attempted a more ethnic approach, hence the involvement of Richie Havens, Randy Crawford and Genesis touring drummer Chester Thompson. According to Steve, UK label Charisma and US label Chrysalis had differing views on the kind of artist he should be, which coloured the way the album turned out. He later reflected that: 'the 'European' styled tracks came more naturally to me'.

For Steve, it was an anxious time. While he believed leaving Genesis was artistically the right decision, from a commercial viewpoint, he was concerned. Although the album received positive reviews and spent five weeks in the UK top 50, he was conscious of the need to assemble a band to promote both Please Don't Touch! and Voyage of the Acolyte. This was a challenge as none of the singers on either of the albums were available, but by the end of August 1978, he had assembled his band. In addition to material from the first two albums, new songs destined for Spectral Mornings were rehearsed along with the Genesis standard, 'I Know What I Like (In Your Wardrobe)'. Opening at Chateau Neuf in Oslo, Norway on 4 October and closing at London's Hammersmith Odeon on 30 October, the European and UK tour was a resounding success. Although he gave a lot of credit to the new band, it was a vital boost to Steve's confidence as a solo artist.

Kim Poor's cover painting is a departure from her usual style. It depicts an elderly couple being attacked by mechanical toys within a Victorian fairground style frame, influenced by the track 'Carry On Up the Vicarage'. The reverse side features a moody, sepia-tinged photo of Steve with Brighton pier in the background.

'Narnia' 4:07 (Steve Hackett)

While Steve was writing the album, American prog-rockers Kansas had had a radio hit with 'Carry On Wayward Son' and he was impressed by the big, acapella vocals on the track. The band cited Genesis as an influence and Steve invited Kansas singer Steve Walsh and drummer Phil Ehart to perform on two songs. Given that the subject - the children's classic The Lion, the Witch and the Wardrobe - is a very British one, the distinctively American vocals and the song are ill-matched. The song's jaunty, upbeat tone also overlooks the dark humour and foreboding atmosphere of C.S. Lewis' novel.

That said, it's a suitably lively opener with chiming, double-tracked acoustic guitars joined by honky-tonk piano and Walsh's exuberant vocals. Ehart and bassist Tom Fowler make the most of the basic rhythm, with the latter's fluid playing in particular impressing. Steve's electric guitar, on the other hand, is mostly relegated to providing fills. Unsurprisingly, 'Narnia' was performed on the subsequent tour. Although Pete Hicks was relatively unknown as a frontman, it was the similarity between his voice and Walsh's that earned him a place in Steve's band three months after the album's release.

'Carry On Up the Vicarage' 3:11 (Hackett)

Another track with a very British subject matter, this is a homage to crime novelist Agatha Christie with a nod to the farcical 'Carry On' films popular during the 1960s and early '70s. The song is rife with lines that could have come straight from Christie's books. It opens with the sound of a children's musical box and part of a vintage recording of the Christmas carol 'Deck the Halls'. Chiming, Christmassy percussion ushers in a mighty organ combined with a touch of distorted guitar. The Robert Morgan pipe organ recorded at the Record Plant in Los Angeles, features on this track but not long after, it was sadly destroyed in a fire at the studio.

This is Steve's second vocal outing - following 'The Hermit' on the previous album. His double-tracked voice is heavily distorted to create the effect of a deep-voiced man and a squeaky-voiced child singing in unison. It's disconcerting, but it's all part of the song's quirky - if slightly sinister - charm. For the bridge beginning at 2:02, he sings in his normal pitch, although his voice remains processed.

'Racing in A' 5:07 (Hackett)

This is an aptly titled song - it is in the key of A - and it motors along at a breathless pace with Walsh's energetic vocals to the fore. As is typical of several Hackett songs from this period including 'Shadow of the Hierophant' and 'Every Day', it's in two distinct parts. His time with Genesis had clearly stood him in good stead when it came to combining sections of music. Compared with 'Narnia', the song's mood is more in keeping with the lyrics which soundly advise that we should get away from the pressures of life and take a break in the warm country air. It also has a better melody. Walsh was uncomfortable with Steve's original words and although uncredited, he rewrote them to suit his vocal style better.

The storming, single chord intro is superb, with Steve, Ehart and Fowler gelling as if they've been playing together for years. Steve's tricky, siren-like guitar line which punctuates each chorus is especially memorable. At 3:52, the song takes an unexpected turn with a nylon guitar solo providing a tranquil respite to the bombast that has preceded it. When performed live, this section, for obvious reasons, was jettisoned and the band would usually segue into the closing part of 'Ace of Wands' instead.

'Kim' 2:14 (Hackett)

This graceful, acoustic instrumental continues in a similar vein to the closing part of the previous track. It's more gentle and reflective, however. The lilting melody and slow, stop-start rhythm with Steve's nylon guitar accompanied by John's flute is clearly a homage to Erik Satie's exquisite tone poem 'Gymnopédie No 1'. The French composer and this piece, in particular, is greatly admired by both Hackett brothers and in 2000 they would release the Sketches of Satie tribute album. 'Kim' became a substantial live favourite and was often performed as a medley during the acoustic part of the show. It was reinterpreted by Steve and John on the 1983 classical album Bay of Kings with keyboardist Nick Magnus adding orchestral embellishments.

'How Can I?' 4:35 (Hackett)

After recording his vocals for 'Icarus Ascending' on side two,...