20 Songs, 1 Hour 47 Minutes


Ratings and Reviews

4.9 out of 5
20 Ratings
20 Ratings

...about time...finally

Well...nice to see these added, at last.

You could go into this long drawn out review about this walking the edge of progressive rock and Renaissance madrigal, or, you might just want to keep it simple and listen to these and let your mind wander a bit...I'll do that again, now...it's beautiful stuff and if you don't feel a bit of a pang when hearing "God if I Saw Her Now" and "Which Way the Wind Blows" then, it's possible you never had a paint-by-numbers unicorn & castles picture when you were barely a teen...


Ant Phillips' best

The first Genesis guitarist captures the whimsy, melancholy, and mirth present from the Peter Gabriel years of his old band. Ironically it's Phil Collins who does the vocals. This effort trims back the excessiveness of production that compromised Phillips' last album with Genesis, Trespass, and comes up with a perfect balance of elegant guitarwork, progressive structure, emotive mixing, and even my favorite album cover ever (you have to see it up close). While it doesn't rage like "The Knife," it satisfies the somber side well. The way it's packaged you do have to buy the whole album, because the shorter versions of the major pieces sold separately don't contain the brilliant, rich yet subtle accompanyment that are this album's hallmark. For those that love the tender side of prog, an absolute must.


The Geese & The Ghost

This album is a strong introduction for many to the classic, progressive acoustic music of Anthony Phillips. Probably the most popular and well known of his solo works, it has set many a person on a quest to acquire the Private Parts and Pieces series. For many years it has been one of my favorites to listen to when I can relax - and dream.

About Anthony Phillips

Anthony Phillips was one of the founding members of Genesis, having attended the Charterhouse School in Surrey with Peter Gabriel, Tony Banks, and Michael Rutherford. Phillips and Rutherford (who had played together in another band before linking up with Gabriel and Banks), were the principal composing members of Genesis during their formative years, right into their first recording venture on English Decca ("Silent Sun," etc.) under the aegis of Jonathan King. Much of Phillips' and Rutherford's music was too subtle and introspective to work for the fledgling band on-stage, and eventually composition became more of a shared effort. By the time the group cut its second album, Trespass, however, Phillips had receded into the background, propelled by a crippling onset of stage fright that forced him out of the lineup following the album's release. His influence, ironically, was felt very strongly on their subsequent breakthrough third album, Nursery Cryme, the title track was the band's first number to attract a wide audience in progressive rock circles for its introduction and opening minute, which used material that Phillips had written and recorded (as a demo) as early as 1969.

Little more was heard from Anthony Phillips until 1977, when he released his first solo album, The Geese and the Ghost, followed by Wise After the Event a year later, and then a collection of early demo recordings, Private Parts and Pieces, also issued in 1978. Phillips has re-emerged periodically, working in a style that is much closer to the classically influenced original Genesis sound than to the work of the current version of the group. He retains a cult of fans, similar in certain respects to Peter Banks of Yes (another guitar player who quit an art-rock band at a critical early juncture in their history), but recording more frequently. He also writes a considerable amount of music for television and movies, and remains a guitarist of supreme skill and confidence, steeped in classical, pre-Baroque, and folk influences, able to record entire albums featuring only his acoustic instrument. Phillips' skills on the keyboard, principally synthesizer and Mellotron, are more limited, and were never exploited within a group context, but his studio recordings reveal a distinctive character to his compositions on those instruments as well. ~ Bruce Eder

December 23, 1951



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