A CURIOUS FEELING

2.5 stars really!!

I had big expectations when this came out and I listened to it about twenty times over a period of ten years before actually giving up. Where is the Mad Man Moon or the Vine ? Clearly Mr Banks was the musical arranger/leader but he sure as hell needed the help from his colleagues as we are far away from a good Genesis album.

You can draw a good parallel from Banks' A Curious Feeling to Genesis's Duke album and to Rutherford's A Smallcreep's Day. Clearly by then Genesis had a sound of theirs at the time. I am not talking of Duke's most commercial tracks like Lisunderstanding or Turn It Off Again, but the rest of the album. If you can picture those tracks with a cross of the ATTWT album, you get a good idea of what this sounds. Rutherford's ASD is also very close. This is close to the third star, but not exactly

Not a String Driven Thing

An excellent debut solo album from the Genesis keyboard man.

Bank's is no extrovert in the vein of Wakeman or Emerson, and has no pretensions of being either of them. (It is ironic that this album is on the Charisma label, since, certainly as far as his stage presence is concerned, that's something he does not have.) His keyboard playing on Genesis albums is generally understated, with a few obvious exceptions such as the magnificent "Cinema show" where allows himself a little slack, and comes up with a virtuoso performance.

"A curious feeling" is built on the same foundations. Keyboards are always there it is true, but they by no means dominate the album. Banks prefers to offer the layers of sound on which his fellow musicians can place the main performances. The vocals (by Kim Beacon, one time of the highly under-rated String Driven Thing) are superb, giving an album which might otherwise have sounded similar to Genesis, a very different (although hardly "curious") feeling. A more accurate reference point might be the comparatively recent "Calling all stations" album, where Ray Wilson took on vocal duties.

There are some touches of supreme melody on the album such as "For a While" and "After the lie", the latter seeing Banks letting loose the reins for a magical burst of synthesiser. The pace is generally relaxed, almost ambient at times, but with the occasional release of energy.

In all a fine album, well worth seeking out.

Well this album was the main inspiration, when my prog band LETHE looked for its name, at the moment of the establishment of the first ensemble on 1988... in fact the track the "Waters of Lethe", often used as a tape intro during some Progressive Festivals, when I participated as an headliner with my definitive ensemble some years later, was another Tony BANK's trademark"... But coming back to the present issue, Chester Thompson on drums was remarkable, Tony BANKS at his usual equipment, except on his mono-synth, whose solos are not his best achievement, was excellent like in the old era of GENESIS!! "Lucky Me" had a particular original arrangement, while the title track was perhaps his best effort!!

This work is recommended, without thinking of its artistic value too much...

Here is GENESIS' keyboard player's first solo album. It sounds obviously a bit like "Duke" and "And Then There Were 3", but, it really sounds more quite like "Smallcreep's Day" by Mike Rutherford. Actually the singer has the same good voice. The songs mostly consist in keyboards which are very mellow and floating. His usual piano is omnipresent. This is his best album. There are also good mellow electric guitar, drums, but the accent is put on the keyboards and vocals.

Tony BANKS' concept album about a man who loses his memory when he loses love is itself pretty forgettable. GENESIS fans will find the music familiar -- the intricate piano passages, symphonic synthesizers, and guitars (courtesy of BANKS as well) sound like GENESIS' quieter moments over their last few albums -- but even BANKS' own songs with that band were never this prolix and prone to meander. Vocalist Kim Beacon is an understated singer; combined with BANKS' pastoral and pastel-colored arrangements, "A Curious Feeling" becomes a pale imitation of the keyboardist's contributions to GENESIS.

For every fiery instrumental section (e.g., on "You") that suggests things are heating up, there are three that limp across the stage like sad ghosts. BANKS' keen pop sensibilities pick up some of the slack, notably on "For A While" (itself foreshadowing "Misunderstanding" from "Duke") and "Lucky Me". But nothing on here approaches the level of a "Cul-de-Sac" or "Burning Rope", while "Forever Morning" turns out to be an aisle of plenty of nuthin'. Chester Thompson, who had supported GENESIS on their last big tour, could have offset the music's softness with intricate rhythms had he been more engaged in this project; as it is, he's often in the background or out of the picture altogether. Beacon is a sensitive singer, not blessed with rich tones but sympathetic in the same manner as some of Steve HACKETT's guest vocalists.

Ultimately, "A Curious Feeling" is a missed opportunity; a placeholder that likely dampened the curiosity stoked beneath the breast of many a GENESIS fan. BANKS would have done better to take a page from Phil COLLINS' playbook: you don't get a second chance to make a first impression.

I think reviewer Mogens Gallardo hit it right on the nail: to get the most enjoyment out of this album, forget that it's from an ex-GENESIS member and enjoy it for what it is. When it comes down to the crunch, music, after all, is all about feeling. And as with love and sex, intellectual considerations fly out the door and pleasure sets in if only you will allow yourself to go with the flow.

This first solo album gave us a glimpse as to who was responsible for the undercurrent behind the music of GENESIS, but the man obviously did not intend to make another G album. As opposed to MIKE RUTHERFORD's easily memorable, sing-song melodies or PHIL COLLINS' 'in-your-face' type of music, BANKS' is all impressions such as one would find in film scores. It can nevertheless be very moving if your musical antennaes can pick up the thread. Like the undertow (pardon the pun), this music weaves its way deep into your soul and speaks to you in powerful, almost subconscious ways. Had the recording techniques of the 70's been any sharper and the vocalist totally absent, I would gladly have given this album 4 stars (I reserve my 5 stars for truly exceptional albums). This being said, I'll drown in this music any day, any time of day.

Usually regarded as the best solo album Tony BANKS released, the album simply consisted of him, Kim Beacon (ex-STRING DRIVEN THING - a band that also recorded for Charisma, just like GENESIS) on vocals, and Chester Thompson (who played on Frank ZAPPA's "One Size Fits All" and WEATHER REPORT's "Black Market", and also toured with GENESIS and Phil COLLINS). Now this is an album I'd appreciate a hellova lot better if it was all instrumental. This guy, Kim Beacon has one of the most bland and unappealing voice ever (he reminds me too much of SPOCK'S BEARD's Neal MORSE - SPOCK'S BEARD being another band I'd like better if they had someone other than MORSE singing - but now MORSE isn't with that band anymore).

No doubt the instrumental pieces are the best, but Beacon's voice gives it too much of a pop feel. But then I shouldn't be surprise, GENESIS was starting to head the pop route by this time anyway, so this album seemed to be a compromise between GENESIS prog past and pop future. In fact, a lot of the album, unsurprisingly, reminds me of "Duke", thanks to the presence of the Yamaha CP-70 electric grand piano. I think it would this album would work a lot better if BANKS either made this an all-instrumental offering, or had someone else than Beacon sing (like Phil COLLINS).

Yeah this album eventually became a sure thing. It does need to be played loud for the maximum enjoyment of Bank's layered keyboard arrangements. Kim Bacon's vocals after a while settle in nicely but never get too close. All the instrumentals shine through, The Waters of Lethe, Forever Morning and From the Undertow. I would have to say his finest solo album which kind of endeared me more to Banks in that no matter how hard he tried he could never get too commercial. This album IMHO steered well clear of attempting to be a big success. His follow up focussed more on those commercial goals,Chester's drumming too is not to be missed.

Tony Banks`s best solo album. The sound of the Electric Piano dominates this album. There are backing keyboards and 12 string guitars which make "atmospheres" and "paintings" to the songs. The lead singer is good. I don`t know why some people says that Kim Beacon is a bad singer. Chester Thompson, as always, plays very good drums, giving power to the songs with great technique, and playing in the background when the song`s mood needs it. He is one of the best session drummers that I have heard. This album is one of those albums that I like to listen from start to finish. The electric piano and the keyboards in this album are similar to songs from Genesis`s albums of the same period, like "Heathaze" from "Duke" and "Evidence of Autumn" from "Three Sides Live" (it was a B-side for one single of "Duke").These songs for Genesis are similar in sound as the songs in "A Curious Feeling". This is one of the best solo albums of Genesis´ members and former members that I have listened to.

The strength of Banks' debut lies in the combination of his masterful, flowing synth performance style, and a truly touching story. It's a tale of an ordinary man who wishes for and is granted wisdom and happiness... on the condition that should he ever fall in love, he would lose all of this, as well as his very memory and identity. It's not too difficult to discern an interesting allegory from that ;)

The beginning of the album has the main character introducing himself as a simple, working man, living alone and whiling away his time in a mundane job that he nevertheless enjoys. He explains that he can only remember his life up until 6 or 7 years into the past, and that he has accepted he has forgotten who he might have been; he is actually content with who he is, the fact he isn't troubled by the complexities of life, and pleased that people leave him to his own devices. Quickly, in the next track the album moves into a flashback of thirty years previous. Our character as a young boy is playing alone, and one of his favourite games is to make mental bets on the outcome of random events - in this case, a rabbit is running by, and he thinks 'if the rabbit darts into the burrow up ahead, then I'll be fine... but if it keeps on running, the ground will open beneath me and swallow me up'. The rabbit does indeed run on by, but of course... nothing happens. As time goes on, the child continues his little habitual wagers, until one day 'Fate' finds one of them interesting. The boy thinks to himself 'if I never fall for a lady, then let me be famous, let me be wise'. And so it was that 'Fate' stepped in and met this challenge, binding the boy to his gamble.

Very soon, the boy's life begins to change. He no longer plays his little games. He feels the world opening up before him... people begin to make sense to him, he grapples with science, philosophy, art, and becomes more in touch with his surroundings. Through his new found awareness, he also begins to take notice of a girl he grew up with but had never gotten to know properly. As time goes on, his mental exuberance continues, and he gets closer to the girl... not even realising that this one wonder is the very factor that will undo his life. The 'curious feeling' is the sense that, slowly, even at the peak of his life, his vision of who he was was starting to grow dim at the edges.

Eventually, in tandem with the declaration of his love for the girl he barely knew in childhood (the beautiful track, 'You') his curse kicks in, and the walls come crashing down around him, losing his sense of self ('Somebody Else's Dream'). Soothed by the tide of forgetfulness ('The Waters Of Lethe'), he sadly comes to accept his fate, fondly remembering his former glory one last time, and looking ahead to a future where neither he nor anyone else will know who he was - the future we already know from the opening of the album. The final track is achingly sad, as the man pleas that those who know his story never tell him... since his understanding, his gift, and his love are all lost to him, and he can never get them back.

Musically, the album benefits from solid sounds throughout - Banks' classic layered pianos and keyboards of the time feature in every track, making this very much an album of one style, fitting the idea that this is a continuing tale spread over each composition. The subtleties therefore come through in the melody and tempo shifts, an area where Banks reigns supreme, rather than a variety of instrumentation. Kim Beacon's vocals are skilled, efficient, but decidedly 'regular' - personally I think he was perfect for this album, an enchanting tale told by a normal man.

I dont know why this album is being rated so low, apart from the singer the album itself is rather endearing. Despite being a solo album it does not lay the synth/organ on to thickly, and the two solos that are on the album? Excellent. 'Forever Morning' is really standout, I think any prog collector would appreciate this album. Good lyrics also.

Tony Banks first solo efford is still my favorite, yet it does not mean it´s perfect. Half of the album is made of excellent, very inspired songs, that could easily fit in any mid period Genesis best albums. The rest are plaintive keyboards-only tracks that are good, but they don´t really sit well with the others (they sound like incidental music for films, get it?). That´s the CD´s main fault: it lacks a little direction, it´s uneven, which is a shame since Lucky Me, You and, specially, The Lie/After The Lie and the title track are great songs, with those disturbing, intelligent and often enigmatic lyrics Banks was famous for in Genesis.

Musicly speaking, the album is also good, but with few highlights, except for the usual great keyboards runs, but even they are not very used here. The sole exception is the aforementioned The Lie/After The Lie, a very outstanding number (actually a two part song) that could be a big hit if it was recorded by Genesis. Banks plays all the bass and guitars parts, which he does well, but a little more care for the arrangements would make it better. Kim Beacon does a good job singing with passion and conviction. Nothing special but he does it well. Chester Thompson´s drumming is as excellent as ever.

Conclusion: a very good debut, no doubt. But actually, coming from a musical genius like Tony Banks, very good is way below expectations. 3,5 stars.

Have you ever had a friend talk you into going on a blind date by endowing the mystery woman with highly desirable, glowing qualities? What we used to call the "Summertime Syndrome?" (You know, her Daddy's rich and her Momma's good looking?) So you convince yourself that, with that kind of pedigree, maybe this will be THE ONE and you'll fall in love at first sight and you can't wait to meet her. But then after spending an hour or so with her over dinner and drinks you realize that, while she has a cute personality and she's actually kinda nice, there's just no spark, no chemistry, no real attraction going down. Well, that's the way I feel about Tony Bank's "A Curious Feeling." With him being one of the founding members of one of the greatest progressive bands ever and a keyboard genius highly revered by his peers, I expected to be lovestruck and smitten by his first solo album. But soon I discovered that it was just another plain Jane, decent company for an evening but ultimately forgettable.

True to where his head was at in '79, Tony starts off with "From the Undertow," an instrumental that's a lot like what his band Genesis was doing on "And Then There Were Three." I don't really like that particular album but this is an improvement musically and I'm thinking that Banks is going to take me on a fantastic journey. "Lucky Me" follows and it's my first exposure to vocalist Kim Beacon and, while he's no Peter Gabriel, he's not half bad. The song is a bit contemporary in tone and has a flowing melody but it never seems to reach a peak. Nonetheless, it's one of the album's better tunes as it introduces us to a man who has no long-term recall and has "lived alone for all I can remember/though that only means some six or seven years/I would rather be nobody else/I'm happy as I am." Next is "The Lie" and it's more uptempo but Beacon's voice lacks the depth and emotion the song needs and it detracts from the lyric describing our protagonist as being a natural-born speculator in his youth. The bridge belies a definite Elton John influence and the musical build-up toward the end is excellent. "After the Lie" logically follows and it is here that I start to sense that drummer Chester Thompson is being kept on too tight a leash and that's not a good omen. His considerable talent could lend some much-needed excitement to the proceedings. Here our hero sings of seeing things "in a different light" but what that means exactly is rather vague. The musical interlude in the middle is pleasurable but once again Tony makes me wait until the tail end before things get interesting. "A Curious Feeling" is next but it's a letdown. A boring pop song that says not to listen to anybody who says they know anything, it goes absolutely nowhere.

Another fine instrumental, "Forever Morning" comes along in the nick of time to resuscitate the gasping momentum. It's all Tony on this one and it's a well-thought-out piece tastefully arranged. Not spectacular, mind you, but imaginative all the same. However, it points out something that is becoming obvious about the album and that's Banks' tunnel vision regarding keyboard sounds. They are redundant. At the end of this tune he ascends to a Gershwin-like crescendo where banging on a big ol' Steinway would have been perfect but he stays with the electric, synthesized piano and it fails to climax. A missed opportunity if there ever was one. "You" follows and it's a romantic ballad about our guy finally noticing and falling in love with a girl he's known all his life but "meant nothing when I was younger." The song segues into a fast instrumental section that reminds me of Genesis again but it pales in comparison with where I believe his bandmates Phil and Mike would have taken it. "Somebody Else's Dream" (finally, a rocker!) is next and at last Thompson has been unchained to add some welcome dynamics. Kim's vocal has a little more edge to it as he sings "it's not for me to die with children around my bed after a happy life" because "please to say/love is here today/but it's going away/going away." Not a good turn of events for our hero, I'm afraid, but Tony's music is wonderful on this one.

"The Waters of Lethe" is the final all-music number and it's very pleasing to the ear as he incorporates different themes into the piece. Yet I can't help but think back on Banks' incredible piano playing on Genesis' "The Firth of Fifth" and wonder why he avoids the simple elegance of the acoustic keyboard on this effort. The whole album cries out for some tonal variety but Tony and his producer aren't listening. "For a While" is a light pop shuffle in which the singer tells us that love "sure felt good for a while" but now he's going back to being a loner. It's a quaint little tune and one of the highlights of the record. "In the Dark" is a lonesome ballad that ends things on a tragically sad note (I'm still not sure why the poor dude's love affair went sour) and it leaves me unsatisfied.

Tony Banks is a progressive rock icon but, like others who venture out on their own discover, he is at heart a team player and his best work comes in conjunction and cooperation with other talented composers/musicians. That being said, this is still a better album by far than Patrick Moraz's pitiful "The Story of I" and some of Rick Wakeman's less-than-stellar solo efforts. Others may find it much more entertaining and fulfilling than I do, but for me it's always felt like a one-night stand that just never went any further.

I always wonder with what Tony Banks has done with his music. He has written and co-written many of Genesis songs but when it comes to solo album, the overall quality of his music is not as stunning as when he is with Genesis. This is probably what people often say about "having the same chemistry" for all members of the band. This is very true with Banks. This is not to say that his solo albums are bad at all but I think could have done it much better. Remember the legendary "Firth of Fifth"? If he could write something like "Firth of Fifth" why couldn't he do something at almost the same quality? Well, I don't understand it really ..

"A Curious Feeling" is not a bad album at all. In fact there are many good tracks featured in this album. The opening track, "From the Undertow" (2:46) is really a Genesis track - something sounds like "And Then There Were Three". The next track "Lucky Me" (4:26) is mellow and ambient music with Genesis-like rhythm section. Through its lyrics Banks wanted to tell about someone's quest about his life "They want to know but they don't ask me how / That's for someone else and not for me, I don't know. / Lucky me /".

The similar music style happens also in the next track "The Lie" (4:58) in a floating keyboard-drenched music which accompanies Kim Beacon's vocal. The music is again similar to what Genesis has written but the soul is different, it's too ambient - probably. The title track tries to bring the music happier with its upbeat tempo. I most parts the song share similar style with Genesis "And Then There Were Three" or even "Duke" (which was released after this solo album).

Overall, it's a good solo album from one of Genesis' composers. The music is relatively easy to digest and for those who love Genesis might enjoy Tony Banks' keyboard style in the same vein with Genesis albums. For those Genesis lovers, I believe the track titled "You" (6:28) would definitely consider this as a stand-out track. The keyboard solo is really stunning. Keep on proggin' ..!

Peace on earth and mercy mild - GW

A Curious Feeling was Genesis keyboard wizard Tony Banks' first solo album. In addition to keys, Banks plays guitars, bass, and percussion. His guests are Chester Thompson (Zappa and Genesis' concert drummer) on drums and Kim Beacon (String Driven Thing) on lead vocals. Being a famous prog rock keyboard wizard, one might expect this solo effort to be loaded with keyboards. And in many places it is. However, Banks doesn't overdo them, allowing the other instruments to fill their roles appropriately. Clearly Banks is a competent and intelligent composer.

Kim Beacon's voice takes a bit getting used to. Beacon doesn't have a very good range, so his skills seem limited to me. His voice is kind of husky and the best person I can compare him with is Ray Wilson (from Genesis' Calling All Stations album). But after repeated listens, his voice grows on me.

Musically, this is an excellent work. Banks provides us with many solos and atmospheres of lush synths. The music is most comparable with Genesis' Wind and Wuthering album. However it is important, like other reviewers have mentioned, to not think of this as a Genesis album. If you do, you might find it disappointing the first few listens because it is a bit of a departure.

Highly recommended for Genesis and symphonic prog fans. An excellent addition to a prog rock collection. Four stars.

Since Banks had musically hijacked Genesis during the post-Gabriel era, it is not surprising that his first solo album sounds like outtakes from the "Wind and Wuthering" period. At least Genesis had Collins' vocals and percussion, and Hackett's technical and emotional, if increasingly shackled, brilliance. Substitute Banks on almost every instrument, but predictably a very strong keyboard bias, a generally somnolent mood, and a moribund Kim Beacon on vocals. When Kim does choose to sing out, he sounds more like Stevie Wonder than anything, especially on the title cut. It is also telling that one of the best tracks, "Somebody Else's Dream" sounds surprisingly similar to "Squonk". But the most original direction is taken with the sinewy melody of "After the Lie", the only piece that really endures and shows a direction that could have been taken in the future. But Banks and his cohorts had other ideas which they were about to unveil in their ultimately successful quest for world domination. The lingering feeling might be described as a tad more queasy than curious.

Tony Banks debut solo album A Curious Feeling is a pretty good album if you´re into late seventies Genesis. I would place it somewhere between ...And Then There Were Three and Duke. There are also traces of the classical piano playing of Trick of the Tail and especially Wind & Wuthering. A Curious Feeling is heavily synth layered which was also a feature on ...And Then There Were Three while it has some of the commercial qualities of Duke. To me this could easily have been a Genesis album if Phil Collins had contributed vocals which he doesn´t. That´s a wise move by Tony Banks as Kim Beacon´s voice is what sets A Curious Feeling apart from the Genesis sound.

The music is synth driven, with strong and generally memorable vocal lines. There´s a melancholic mood to the songs which is something I also feel was present on ...And Then There Were Three. Tony Banks plays all instruments except for the drums who are played by Chester Thompson ( Genesis, Zappa, Weather Report) and the vocals from Kim Beacon. Tony Banks doesn´t really need that much of an introduction on a prog site, but his playing here is as usual enjoyable. Most songs are with vocals but there are a couple of instrumental tracks here too.

The production is very good and if you enjoy heavily synth layered pop/ rock music this will be a treat. If you´re a Genesis fan I would say this is a must.

I think A Curious Feeling is a good album and I will rate it 3 stars. If you like ...And Then There Were Three or even Calling All Stations this might be your thing.

Someone else's dream

People on this site often blame Phil Collins for taking Genesis in a Pop direction after Steve Hackett left the band. I think it is completely wrong to blame Collins for this as all past members of Genesis did something commercial at some point along the line; Mike Rutherford, Phil Collins and Peter Gabriel all had big radio hits and Anthony Phillips, Steve Hackett and Tony Banks tried the Pop formula at some point in their careers. I think that Rutherford and Banks were as much responsible for the direction of Genesis in the 80's as Collins was. Indeed, I think that Banks was most responsible. This solo Banks album is not exactly commercial, but it is surely far away from what we could expect from the keyboard player in one of the major progressive rock bands of the 70's.

This music is diluted Genesis, very soft Rock with little or no progressive features at all. The sound is heavily based on symphonic keyboards and soft, soothing vocals. The songs are all towards the ballady side of things and there is a serious lack of an edge. I'm not saying that this is a poor product, but it is not my cup of tea. One major problem I have with this music is how anonymous it sounds. This does not sound like the Tony Banks we know, this could have been made by almost anyone. Despite a few engaging moments, I find this album rather dull and unmemorable.

Mike Rutherford's first solo album, Smallcreep's Day, that was recorded around the same time, is in my opinion a better album. But none of them are remarkable in any way. I recommend A Curious Feeling only to serious Genesis fans and collectors. It can be an enjoyable listen in parts, just don't expect a lost Genesis album of anything along those lines.

Wonderful solo debut album by Tony Banks. The keyboards are in the centre of the album, and that's as it should be. There isn't an awful lot of variety as it comes to keyboard sounds. In fact, the sound of the album is quite sparse. Drummer Chester Thompson, who had great memories working with Tony on the album, is playing quite tame compared to some of the flashy and sensational stuff he does on albums from for instance Genesis and Koinoonia.

So, musically, the keyboards are central to the music, and the drums are following the keyboards, being in the background most of the time, just giving the music the backbeats that it needs.

As it comes to lyrics, the key to understanding is in "The Lie". From here all the lyrics of the rest of the album fall into place. Still, Tony never wanted to make a real concept album.

Back to the music: this is probably Banks' best album, and his most non - commercial one also (except for the classical cd that he made). What's beautiful on the album is his chords, which are sometimes complex. Also, it is a real story telling album, which heightens the atmosphere. The singing is good, though not extraordinarily good. The production is not quite on a par with the Genesis albums. That doesn't really matter, Banks compositions, his chords, the warmth of his synthesizers, the moods (melancholic) are outstanding.

Banks wanted to call the album The Waters Of Lethe, but he changed the name because he didn't want to explain to anyone about the meaning of the album title. I feel sorry about that, because the original title is much more beautiful.

On the next cd Banks would turn to new wave, leaving many of his (Genesis) fans disappointed, starving for music with more challenge. Later on Banks would opt for a more openly commercial sound. Banks' debut remains his best. Not sounding like Genesis, except for the chords, the good compositions and the meaningful lyrics. Recommended.

After reading a bunch of reviews and hearing the sample track I decided that it was my obligation as a Genesis fan to purchase this album!

Since my expectations weren't that high to begin with I actually managed to really enjoy this album over the course of the first couple of days. Tony Banks is a great artist and I actually consider him to be better than other virtuosos from the great progressive era. No reason to disguise that I'm talking about Keith Emeson and Rick Wakeman here.

I think it's great that Banks always lets his band-mates shine on the Genesis albums while he works on the underlying structures. Unfortunately this ultimately becomes this albums major flaw. A Curious Feeling lacks the leads from all of the earlier Genesis albums. It's melodic and pleasant but lacks a front-man figure who would turn the material into something more substantial. On the other hand I can imagine that this release would have worked much better have it been a movie soundtrack.

A decent effort from Tony Banks which unfortunately also shows why his great talent works much better in the context of a band.

***** star songs: After The Lie (4:49)

**** star songs: From The Undertow (2:46) Lucky Me (4:26) The Lie (4:58) Forever Morning (6:02) You (6:28) The Waters Of Lethe (6:31) For A While (3:38) In The Dark (2:58)

*** star songs: A Curious Feeling (3:58) Somebody Else's Dream (7:50)

After GENESIS had released And Then There Were Three (1978), Collins needed a break due to his marital problems and both Rutherford and Banks made their first solo albums (Collins' debut Face Value was to come out in '81). All of these solo debuts are also their best solo albums, I think. Especially A Curious Feeling, into which Banks put his heart at least as much - and probably more - as into anything he had made for Genesis. Even though he uses only a vocalist (thank God...) and a drummer and handles keyboards, guitars, basses and some percussion himself, the sound is great, far from being a thin keyboardist-goes-solo failure. It is not very far from Duke that appeared the next year. Think of Heat Haze for example. I do think Duke is a pretty nice Genesis album even with the increasing Collins-goes-pop side of it, but still this Banks album is better. It is more even and coherent, ALMOST to the point of sounding a bit the same all the way, but not quite. He made a wise decision to write a very coherent and balanced album instead of laying all of his possible tricks on the table, as a keyboardist.

I don't know the singer Kim Beacon from other occasions, but he fits perfectly to this music. Coincidentally, I hear both Paul Garrack (Mike + The Mechanics) and Phil Collins in his voice! The drummer is naturally Chester Thompson who had already played in Genesis concerts.

The CD release from 2009 has long liner notes from Banks and is full of interesting information. He originally wished to make a concept album after the Daniel Keyes novel Flowers For Algernon (about a retard and his brief time of becoming clever with a brain operation - a wonderful book, by the way!) but the author informed him that a musical was being produced and so the timing perhaps wouldn't be good. "I went back to the drawing board and reworked the story so the album came to be about a man who was gradually losing his mind but was aware of what was happening to him." Most of the material had been written in a fertile creative period and ideas seemed to be coming easily.

The tracks (with three instrumentals included) vary from regular songs with mostly a thoughtful mid-tempo, to longer (6-8 minute) songs that have more instrumental passages. Some of the tight keyboard solos are among the best he'd ever done. There's no weak track really; the only one I don't care much is the title song, which is more up-beat and light than the rest of the album.

It's a pity he never made another even half as strong solo album. Banks himself seems to know it too. "A Curious Feeling will always have a special place in my heart". If you like Genesis albums of that time, you'll most likely enjoy this album a lot.

I did buy this album upon first release and found many pleasurable passages but, unfortunately, no single song that engages and amazes from start to finish. As I re-listen to it now, I'm smiling at all of the familiar Duke-era sounds and stylings Tony uses. The fact that Tony could only entrust his sacred music to the contributions of two other collaborators is probably evidence in the case for Tony being a control freak. Chester Thompson had already proven himself loyal (and malleable and docile) over the course of four years of Genesis touring, but the choice of Kim Beacon for vocalist was always a bit of a surprise. Also, there are no complex musical passages here, just straightforward saccharine. Side Two does, however, present some exciting and engaging music.

Best songs: "You" (9/10); "In the Dark" (9/10); "Forever Morning" (8/10); "Somebody Else's Dream" (12/15), and; "The Waters of Lethe" (8.5/10)--this latter instrumental giving us a little glimpse at Tony's attraction to and future explorations of classical music constructs and formats.

Recorded during Genesis' downtime between And Then There Were Three... and Duke, A Curious Feeling is a concept album loosely based on the classic science fiction story Flowers for Algernon, and features Banks (ably backed on drums by Chester Thompson) exploring a number of aspects of his keyboard playing - many of which will be familiar to Genesis fans, but some of which got a first outing on this album.

The tender, quieter moments and dramatic flourishes that were so much a feature of preceding Genesis albums get an outing here, but at other points Banks adopts a classical style reminiscent mainly of the work of Robert John Godfrey in the Enid. Compositionally speaking, Banks keeps the songs accessible whilst retaining the progressive spirit of his band work, with occasional techniques and flourishes which remind me strongly of the neo-prog albums which would soon come to the fore.

Indeed, the more albums I listen to from the transition period between the golden age of symphonic prog and the rise of neo-prog, the more it seems that the invention of neo-prog was an evolutionary rather than revolutionary matter - with accessible-but-progressive albums by the likes of Rush, Steve Hackett and Banks from the late 1970s and early 1980s suggesting a musical direction which the likes of Marillion, Pendragon, IQ and others were only too happy to pursue. So, on the whole I think A Curious Feeling's place in prog history has been played down a little too much, and it's also on the whole an underappreciated disc which is well worth a listen for anyone who enjoys Banks' contributions to the early Genesis sound. That said, whilst I consider it underappreciated, at the same time I don't think it's necessarily been underrated - the "Genesis Lite" style that's taken for an excursion here is a bit too transitional and sketchy, and the album is diminished rather than enhanced by repeated listens.

I have struggled with this album, over and over and over again, trying to come to grips with it. In the end I have failed miserably. Miserably!

Oddly, there is actually nothing wrong with it. It is all very well played and conducted. Yes, there are plenty of pop elements but also a lot of progressive ones. All in all I'd say there's a good mix of it all. But just as fusion have a tendency, sometimes, to go on a journey with no end, just trodding away on this everlasting expedition, so does Mr. Banks on this album. Not much goes on and the music fades into the background, like new age noodling. I find little to cherish and little to remember when the album at last finds the end and silently stops rotating within my CD- player. And I hate that.

The cover of the album is lovely. Beautiful. The music inside is soothing, suitable for late night discussions over a drink or two. It it music that does not enfuriate, nor does it make me as a listener jump for joy. It actually brings forth an empty plate of emotions. The tray, how silver it might be, stares back at me, reflecting only my bewildered face.

The only track I do find great, in some sense, is "For a while". Quite poppy but great lyrics and an all in all top notch prog-pop song of the late 70's. That is all and not quite enough.

In conclusion I have to say that my efforts to penetrate this temple of peaceful prog has left me unsuccesful and just as bewildered as ever. There is nothing to greet my but my own feelings of being locked up in a spa, where music acts as a soothing and relaxing companion to the cucumbers on my eyes and the parsnips sticking out of my ears.

Sorry, my good fellow Banks. This is not the most exciting piece of music I have come across and I will probably not be revisiting this again. At least not for a while.

Review Nº 309

"A Curious Feeling" is the debut solo studio album of Tony Banks and was released in 1979. It was released after the departure of Steve Hackett from Genesis, between "Wind And Wuthering" and "...And Then There were Three...". Tony Banks was the first of the three remaining members of Genesis to release a solo work. However, "A Curious Feeling" never reached the success that Mike Rutherford and Phil Collins reached with "Smallcreep's Day" and "Face Value".

The album's cover design was made by Hothouse and the cover painting is named "Wuluwait - Boatman Of The Dead" and was painted by Ainslie Roberts who was an Australian painter, photographer, writer and a commercial artist too.

Tony Banks wrote all the tracks and he also played almost all the music instruments on it, such as, the keyboards, the guitars, the basses and the percussion. However, he selects to collaborate with him two other musicians. For the drums and percussion he chooses Chester Thompson, an American drummer and session musician who played before with Weather Report and Frank Zappa. On vocals, he chooses Kim Beacon who was a member of "String Driven Thing".

The story of "A Curious Feeling" is a science fiction novel based on the book "Flowers For Algernon" by Daniel Keyes, who was an American writer of science fiction and fantasy novels. It was written in 1958. Algernon is a laboratory mouse which was subject to a surgical intervention to increase his intelligence by artificial means. The story touches many different ethical and moral themes such as the treatment of the mentally disabled, the conflict between intellect and emotion or happiness and hoe events in the past that can influence the personality of a person later in his later life.

"A Curious Feeling" has eleven tracks. Most of the time, the music all over the album is dominated by Banks' fantastic playing, especially the Yamaha electric Grand piano, which was at the time a very popular instrument, can be heard on many of the tracks. Also the layers of string synthesizers, which were made to create an orchestral feeling on the instrumental pieces, sound very impressive. Tony's efforts on the electric and acoustic guitar are worth listening too.

The first track "From The Undertow" opens the album as an instrumental prelude. This is a nice and dramatic piano and keyboard piece. It's in the same vein of what Genesis made on "...And Then There Were Three...". "Lucky Me" is a nice track with great vocal work by Beacon. The guitar and the keyboards that work in the back are very nice too. The song is a bit contemporary in tone and has a great melody. "The Lie" is also an excellent track that could easily have fit into Genesis' portfolio of that era. It precedes the high point of the album, their magnum opus. "After The Lie" is another track that could have fit into Genesis' portfolio of that era. The dramatic tension, structure and particularly the keyboard solo are on par with some Genesis' best output. Thompson's drumming is another highlight on the track. The title track is a light footed pop rock song that lifts your spirit, as opposed to the other rather melancholic pieces of the album. It has a catchy instrumental hook and a rousing spoken introduction from Beacon. This is probably one of the strongest tracks on the album. "Forever Morning" epitomizes everything you would hope for in a real Banks' track. The music builds layer by layer reaching moments of intense grandeur with a very delicate theme at the mid point and a dramatic closing section. "You" is a romantic ballad dominated by sensitive vocals and some Genesis' inflected guitar before a fiery synthesizer solo opens up into a bombastic instrumental sequence. "Somebody Else's Dream" is the lengthiest track on the album. Thompson has been unchained to add some welcome a very dynamic drumming work and Beacon gives probably his best vocal performance on the album. "The Waters Of Lethe" remains the album's most successful offering built around a simple but lyrical piano theme before breaking out into a grandiose guitar and keyboard fanfare. It sounds amazingly beautiful like "Wind And Wuthering". "For A While" is one of the most straight forward songs. This is a melancholic short pop rock song with an engaging melody and an optimistic tone. It features a rare electric guitar break from Banks. "In The Dark" is a beautiful understated piece to conclude the album in a true Banks' style. This short track is nice and includes one final and majestic orchestral flourish. This is a very nice way to close the album.

Conclusion: "A Curious Feeling" has elements of Genesis' early progressive sound. So, it makes of this Banks' debut release the strongest and the really only album from him entirely progressive. After all I wrote about the tracks, I can say that it's for very little that I don't consider this album a true masterpiece. I think to be a masterpiece, only lacks to it a small flame of emotion. So, my rating is 4 stars because I think that it's closer to 4 stars than 5 stars. So, for what all I said before, I sincerely think that "A Curious Feeling" is really a must for all fans of Genesis and for all progressive fans. I know the album since it was released, and fortunately, despite my CD copy, I have also my old vinyl copy. I also know that this album always had also a very special place in Tony's heart, even now, after all these years have passed.

Prog is my Ferrari. Jem Godfrey (Frost*)