Arch Genesis writer and critic, Mario Giammetti, delves deep into the musical career of keyboardist and composer Tony Banks. Another fine Prog Rock production from Kingmaker Publishing
THE MAGICIAN
The story of a musician, nay “a magician capable of pulling the most brilliant of ideas out of his hat while remaining the victim of a cruel spell that denied him the recognition he so deserves.” An update of the Italian language version published in 2006 delves deep into the musical career of Genesis keyboard player Tony Banks via his dalliances with Pop/Rock, classical, soundtracks and collaborations.
The musical history books will mark Banks as the musician who embodied the progressive sound of Genesis, yet found solo success eluding him while his bandmates (those of the classic era – Gabriel, Collins, Hackett and Rutherford) all embarked on solo careers and ventures with considerable degrees of commercial success.
The two and a half page intro sums up the content and poses the question nicely. Mentions of “disinterest in collaborating with other artists” (although eventually yielding), to the hardships and psychological impact of a repressive public school upbringing may well be factors yet the “victim of a cruel spell” notion appears a little harsh. As Giammetti himself admits, the answers as to why Banks’ solo career remained in the shadows are not within. No definitive answers, only hypotheses and clues – often from the mouth of the subject himself.
A DEEP DIVE
What follows is a deep dive into the musical legacy. For all those whose apathy was a disappointment for Banks in terms of critical acclaim or commercial clout, the detail given over to the analysis of the albums is judicious enough to maybe hint at a reappraisal. The analysis is admirable – with the occasional bite.
Still (and for that matter Strictly In for the more pop/commercial angle) in particular gets the nod as one of the more successful forays although some of the more, let’s say ‘cheesy’ parts of, let’s say The Fugitive, are exposed. Personally, the debut A Curious Feeling would be a personal pick; maybe because it’s so close to the day job of Genesis around the late Seventies in the rich keyboard textures. The to-ing and fro-ing between genres, from classical to pop to a group/band based options see Banks never seemingly settled. Perhaps it’s only in the latter years when the sense of inevitability that he’s never going to match up to Phil and The Mechanics that he seems to find some satisfaction and solace in a more piano based classical compositions.
PERSONALITY?
Maybe it does come down to personality – personal and musical. Strange that the unwillingness to compromise within Genesis is tempered by towing the line as he chases critical and commercial solo success. The introverted shyness balanced with an underlying strong personality and conviction, possibly selfishness that saw him as the Genesis overseer, pushing for his own ideas at the expense of others. Just ask Steve Hackett.
We all like a mystery yet for those awaiting the final chapter for a solution will be disappointed. There’s no doubting Mario’s credentials when delving into all things Genesis and above all, banks is a most intriguing and enigmatic subject.
The trademark house style from Kingmaker, as always, makes for another appealing product. A fascinating subject and one that will, like Banks’ own music, appeal to Genesis fans and possibly not the casual music biography market. But that’s the specialist nature of the Kingmaker brand.
Available from the wonderful sales desk at Burning Shed.