Steve Hackett

Steve Hackett is an English classical/rock guitarist with a career in music that dates back to 1970. He rose to prominence as a member of Genesis between 1971 and 1977, during which time he played on six of the band’s studio albums: Nursery Cryme, Foxtrot, Selling England by the Pound, The Lamb Lies Down on Broadway, A Trick of the Tail, and Wind and Wuthering.

He released his first solo album, Voyage of the Acolyte, in 1975 while still a member of Genesis. After leaving the band, he resumed his solo career with 1978’s Please Don’t Touch. Since that time, he has released more than 20 solo albums.

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Early Life

Steve Hackett was born in Pimlico, south central London on February 12, 1950, one day before his future Genesis bandmate Peter Gabriel. Hackett has a younger brother, John (b. 1955), who took up flute and collaborated with Steve on various projects over the years.

As a child, Hackett played recorder and harmonica. He took up guitar at age 12 and taught himself chord progressions and phrasing by playing along to his favorite guitarists. As a teenager, he was influenced by Peter Green, Danny Kirwan, Jimi Hendrix, and other players associated with the British blues rock movement.

In 1968, Hackett made his first recorded appearance on the track “Prologue” by London psych-rockers Canterbury Glass. The track went unreleased at the time but was finally acquitted four decades later on the archival disc Sacred Scenes and Characters.

In 1970, Steve and John joined Quiet World, a folk-psych band signed to Dawn. Though the brothers had begun writing, this band was directed by another set of brothers, John and Lea Heather, who wrote the songs with their non-performing third brother Neil. The Hackett’s are credited with guitar and harmonica (Steve) and acoustic guitar (John) on The Road, Quiet World’s singular album, issued that year. They left the band soon after its release.

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In Genesis

In December 1970, Steve Hackett placed the following ad in the musicians classified section of Melody Maker: “Imaginative guitarist-writer seeks involvement with receptive musicians, determined to strive beyond existing stagnant music forms.” It was seen by Peter Gabriel, then vocalist of the up-and-coming Charisma act Genesis, which had recently lost their guitarist Anthony Phillips. At Gabriel’s suggestion, Hackett purchased their then-recent sophomore effort Trespass to grasp the challenge in advance. His now-developed playing style — a mix of classical, folk, and blues rock — instantly meshed with the band’s soft/heavy dynamics, from the pastoral sounds of “Dusk” to the hardened menace of “The Knife.” He played his first concert with Genesis at London’s City University on January 24, 1971.

Hackett’s first album with Genesis was Nursery Cryme, released in November 1971. His innovative tapping technique — later adopted by assorted metal guitarists — is heard on the side-one closing epic “The Return of the Giant Hogweed.” On the Mellotron-laden album closer “The Fountain of Salmacis,” his signature ghostly bends rise through the foggy layers of keyboardist Tony Banks.

Hackett got his first solo spot on a Genesis album with the acoustic classical-guitar instrumental “Horizons,” which appears on their 1972 release Foxtrot. At 1:41, it serves as a prelude to their 22-minute suite “Supper’s Ready.” He would further explore this style during his solo career, including the entirely of his 1983 release Bay of Kings, which features a reworked “Horizons.” The remaining material on Foxtrot is group-credited though one piece, the side-one closer “Can-Utility and the Coastliners,” was primarily composed by Hackett. It’s a through-composed number with oblique lyrics based on the legend of King Canute.

On the next Genesis studio album, the 1973 release Selling England by the Pound, Hackett contributed “After the Ordeal,” an instrumental tapestry of classical guitar and piano that breaks to a sequence of blues-based ghost bends in its final bars. At 4:15, it bisects the two epics of side two: the surreal gang-rivalry dramatization “Battle of Epping Forest” and the romantic obfuscation “Cinema Show.” Hackett had to fight tooth and nail to get his song included, marking the start of tensions between him and certain other members, particularly Banks, the band’s most dominant songwriter.

Also in 1973, Hackett appeared — along with Genesis drummer Phil Collins — on the Capitol/Sovereign release Two Sides of Peter Banks by ex-Yes/then-Flash guitarist Peter Banks. It was originally conceived as a collaborative effort between Banks and Focus guitarist Jan Akkerman, who plays on six numbers. Hackett plays on “Knights (reprise),” one of the few non-Akkerman cuts.

In November 1974, Genesis released The Lamb Lies Down on Broadway, a thematic double-album that proved to be the last release from the band’s classic five-piece configuration. Hackett displays his avant-garde side on the instrumental “The Waiting Room,” a fractious, largely free-form piece developed under the working title “Evil Jam.” After an elaborate tour in support of this release, Gabriel left the band in May 1975. As Genesis contemplated its next move, Hackett used the downtime to record his first solo album.

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Voyage of the Acolyte 

Steve Hackett released his debut solo album, Voyage of the Acolyte, in October 1975 on Charisma (Chrysalis in the US).

The album presents a cinematic fusion of instrumental passages and textured art-rock, guided by Hackett’s ornate guitar voicings and a compositional framework inspired by the Tarot. “Ace of Wands” opens with rapid thematic shifts between angular riffs, layered Mellotron, and fluid synth leads. The sequence of linked tracks (“Hands of the Priestess” I & II, “A Tower Struck Down,” and “The Hermit”) weaves pastoral woodwind phrases and spectral timbres with dramatic turns in pacing and mood.

Phil Collins sings the album’s centerpiece, “Star of Sirius,” a reflection on cosmic energy through lushness and intensity. Acolyte concludes with the epic “Shadow of the Hierophant,” which gradually ascends from a chamber-like vocal prelude into a sustained crescendo of Mellotron, harmonic layering, and orchestral rhythm.

Hackett composed all tracks except “A Tower Struck Down” (co-written with brother John Hackett) and “Shadow of the Hierophant” (co-written with Genesis bassist Mike Rutherford). John Hackett also contributed the flute and ARP parts and devised a chordal segment on “Ace of Wands.”

A1. “Ace of Wands” (5:23)
A2. “Hands of the Priestess, Part I” (3:28)
A3. “A Tower Struck Down” (4:53) — written by Steve Hackett and John Hackett
A4. “Hands of the Priestess, Part II” (1:31)
A5. “The Hermit” (4:49)

B1. “Star of Sirius” (7:08) — Describes a spiritual awakening at twilight, where natural forces and divine symbols guide the soul’s transformation. Phil reflects on love, cosmic renewal, and readiness to embark on a continuing journey through the unknown. “Again renewed by the vessels of Isis, you’re ready to fly” suggests a rebirth or empowerment through divine feminine energy—Isis being the ancient Egyptian goddess of life, magic, and resurrection. The “vessels” imply sacred channels of nourishment or initiation, aligning the listener with a greater cosmic purpose. The lyrics echo the spiritual connotations of Sirius—linked to Isis in Egyptian cosmology—as a star of awakening and celestial guidance. Just as Sirius heralded the Nile’s flood and symbolized the life-death-rebirth cycle, the song invokes Isis as a renewing force preparing the seeker to “fly”—a metaphor for transcending earthly limits. Phil’s repeated emphasis on starlight and knowing love parallels Sirius as a symbol of higher consciousness, where emotional truth unlocks access to new, illuminated worlds.
B2. “The Lovers” (1:50)
B3. “Shadow of the Hierophant” (11:44) — written by Steve Hackett and Mike Rutherford

Bonus tracks on 2005 CD reissue:
9. “Ace of Wands” (Live) (6:32)
10. “Shadow of the Hierophant” (Extended Playout Version) (17:01)

Sessions took place in June and July 1975 at Kingsway Recorders, London, with Steve Hackett and engineer John Acock co-producing. Acock also played piano, harmonium, Mellotron, and Elka Rhapsody. Assistant engineers included Rob Broglia, Paul Watkins, Louie Austin, and Tex Read. Equipment support was handled by Geoff Banks and Steve Baker.

Hackett plays electric and acoustic guitar, Mellotron, harmonium, bells, effects, and sings lead on “The Hermit.” Collins plays drums, percussion, and vibraphone, and sings lead on “Star of Sirius.” Rutherford contributes fuzz 12-string, bass, and bass pedals. John Hackett plays ARP synthesizer, bells, and flute. Additional musicians include Johnny Gustafson (bass on B1), Percy Jones (bass on A3), Robin Miller (oboe, English horn), Nigel Warren-Green (cello), and Sally Oldfield (vocals on B3).

The cover artwork is a Chinese-style watercolor painting by Brazilian artist Kim Poor, to whom Hackett dedicated the album. Photography is by Barry Plummer; CD reissue design by Philip Lloyd-Smee.

Voyage of the Acolyte reached No. 26 on the UK Albums Chart.

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Please Don’t Touch

Steve Hackett released his second solo album, Please Don’t Touch, in April 1978 on Charisma and Chrysalis.

Hackett expands his sonic palette across a ten-track program that shifts from mythic narrative and orchestral atmosphere to fusion-laced instrumentals and layered art pop. Strings and pipe organ color the eerie “Carry On Up the Vicarage,” while the Kansas-backed opener “Narnia” evokes children’s fantasy through syncopated riffs and major-key uplift. Hackett integrates vocalists from divergent traditions—Randy Crawford’s R&B phrasing on “Hoping Love Will Last,” Richie Havens’ rasp on the closing “Icarus Ascending”—into a sequence that spans cinematic suites, ambient tape-loop experiments, and sudden classical interludes. “Please Don’t Touch,” the rhythmic centerpiece, anchors side two with abrupt meter changes and Hackett’s use of the Roland GR-500 guitar synthesizer.

Hackett composed all tracks and arranged the material with returning producer John Acock. Guest vocalists include Havens, Crawford, and Steve Walsh (on “Narnia” and “Racing in A”). Hackett plays electric, acoustic, and synth guitars, keyboards, loops, and various percussion instruments. The second half forms a seamless suite from “Hoping Love Will Last” to “Icarus Ascending.”

A1. “Narnia” (4:05) — lead vocals by Steve Walsh
A2. “Carry On Up the Vicarage” (3:11)
A3. “Racing in A” (5:07) — lead vocals by Steve Walsh
A4. “Kim” (2:13)
A5. “How Can I?” (4:38) — lead vocals by Richie Havens

B1. “Hoping Love Will Last” (4:23) — lead vocals by Randy Crawford
B2. “Land of a Thousand Autumns” (1:38)
B3. “Please Don’t Touch” (3:39)
B4. “The Voice of Necam” (3:11)
B5. “Icarus Ascending” (6:27) — lead vocals by Richie Havens

Sessions ran from November 1977 to February 1978 at Cherokee (Hollywood), Kingsway (Wembley), Record Plant (NYC), and De Lane Lea (Soho), with production by Hackett and John Acock. Engineers included Acock and assistants at each location. A fire at the Record Plant shortly after recording destroyed the Robert Morton pipe organ used on “Carry On Up the Vicarage.”

Hackett is supported by bassist Tom Fowler, Kansas drummer Phil Ehart (A1, A3), and Genesis/Weather Report drummer Chester Thompson (A2, A4–B5). David LeBolt and John Acock provide additional keyboard parts. John Hackett plays flute, piccolo, and bass pedals. Graham Smith (violin) and Hugh Malloy (cello) contribute to select tracks. Guest vocals on “The Voice of Necam” include Dale Newman and Dan Owen.

The cover artwork by Kim Poor depicts automata attacking a Victorian couple in a toy shop. Please Don’t Touch reached No. 38 on the UK Albums Chart, No. 23 in Sweden, and No. 49 in Germany.

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Spectral Mornings

Steve Hackett released his third solo album, Spectral Mornings, in May 1979 on Charisma and Chrysalis.

The album introduces Hackett’s newly assembled touring band, whose ensemble interplay underpins a set of stylistically diverse tracks, from ornate instrumentals to folk-inspired vignettes and dramatic synth-rock narratives. The opener “Every Day” juxtaposes a mid-tempo vocal section with a climactic guitar-led coda. “The Virgin and the Gypsy” layers 12-string acoustic textures, flute, and harpsichord, while “Clocks – The Angel of Mons” climaxes with a thundering solo by drummer John Shearer. Side two pairs the flamenco-tinged “Lost Time in Córdoba” with the two-part “Tigermoth,” which segues from jagged Mellotron and synth tones into a spectral lullaby. The closing title track centers on a soaring melodic line voiced through layered sustain.

Hackett wrote all eight tracks and performs on electric and acoustic guitars, guitar synthesizer, harmonica, koto, and backing vocals. Pete Hicks handles lead vocals on three tracks and sings harmonies with bassist Dik Cadbury, who also plays violin on “The Ballad of the Decomposing Man.” Hackett himself sings lead on that track. This album marks the first full studio appearance of the lineup that would continue on Defector (1980).

A1. “Every Day” (6:14)
A2. “The Virgin and the Gypsy” (4:27)
A3. “The Red Flower of Tachai Blooms Everywhere” (2:05)
A4. “Clocks – The Angel of Mons” (4:17)
A5. “The Ballad of the Decomposing Man (featuring ‘The Office Party’)” (3:49)

B1. “Lost Time in Córdoba” (4:03)
B2. “Tigermoth” (7:35)
B3. “Spectral Mornings” (6:33)

Sessions took place between January and February 1979 at Phonogram Studios in Hilversum, Netherlands, with production and engineering by Hackett and John Acock. The band recorded in sub-zero conditions, contributing to a concentrated studio effort with minimal sleep and heavy after-hours socializing.

Nick Magnus plays an array of keyboards, including Mini-Korg, Novatron, Minimoog, Vox String Thing, harpsichord, and multiple Roland synths. John Hackett contributes flute, bamboo flute, and Moog Taurus pedals. Cadbury plays bass, violin, and Taurus pedals. Shearer provides drums and percussion throughout.

The album features cover art by Kim Poor. Spectral Mornings reached No. 22 on the UK Albums Chart and No. 30 in Sweden. Hackett toured the album with this full lineup through 1979, and revisited it again in 2019 for its 40th anniversary.

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Defector 

Steve Hackett released his fourth solo album, Defector, in June 1980 on Charisma and Mercury.

The album continues Hackett’s work with the Spectral Mornings lineup across a sequence of tight, stylistically varied pieces anchored by tonal contrast and metaphorical themes of displacement and isolation. The opener “The Steppes” builds on stately pacing and modal figures, offset by the jittery synth rhythms of “Slogans” and the ornate balladry of “Leaving.” Side two alternates between reflective textures (“Hammer in the Sand”) and sudden rhythmic energy (“Jacuzzi,” “The Show”), before concluding with the satirical, music-hall-styled “Sentimental Institution.” Hackett uses the Roland GR-500 guitar synthesizer sparingly, favoring layered keyboard atmospheres and short-form development over extended soloing.

Hackett composed all tracks apart from “Sentimental Institution,” co-written with vocalist Pete Hicks. He sings backing parts on three tracks and plays Optigan on the closer. Hicks handles lead vocals on three songs and contributes harmonies elsewhere. This album marks the final appearance of the classic Hackett band before major lineup changes.

A1. “The Steppes” (6:05)
A2. “Time to Get Out” (4:11)
A3. “Slogans” (3:46)
A4. “Leaving” (3:16)
A5. “Two Vamps as Guests” (1:58)

B1. “Jacuzzi” (4:36)
B2. “Hammer in the Sand” (3:11)
B3. “The Toast” (3:42)
B4. “The Show” (3:40)
B5. “Sentimental Institution” (2:44) — written by Steve Hackett and Pete Hicks

Sessions took place in spring 1980 at Wessex Sound Studios, London, with production by Hackett and John Acock. The material was rehearsed in advance, allowing for a swift studio process without compromising detail.

Nick Magnus provides keyboards throughout, including Prophet 5, Novatron, Minimoog, and Roland SH-2000; he also uses vocoder on “Slogans” and plays piano on “Hammer in the Sand.” Cadbury handles bass and Moog Taurus, and sings harmony on four tracks. Shearer contributes drums and percussion across the album. John Hackett plays concert and alto flute on instrumental tracks.

Hackett filmed a low-budget video for “The Show,” released as a single with the “Hercules Unchained,” an exclusive b-side.

B. “Hercules Unchained” (2:44)

Cover artwork by Kim Poor features enamel textures and symbolic imagery, with design assistance by Kim and Kobz. Defector reached No. 9 on the UK Albums Chart—Hackett’s highest placement—and charted in Norway (No. 22) and Sweden (No. 30).

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Cured

Steve Hackett released his fifth solo album, Cured, in August 1981 on Charisma and Epic.

The album presents a shift toward streamlined pop structures and synth-based production, with all percussion handled by a programmed Linn LM-1. Hackett performs lead vocals on all eight tracks and handles electric guitar, bass, and acoustic parts. The opener “Hope I Don’t Wake” blends layered harmonies with pulsing rhythms, while “The Air-Conditioned Nightmare” combines crisp synth textures with clipped guitar figures. Ballads like “Turn Back Time” and “Can’t Let Go” adopt a subdued melodic tone, contrasted by the rhythmic brightness of “Funny Feeling” and the flute-driven “Overnight Sleeper.” The sole instrumental, “A Cradle of Swans,” pairs nylon-string lines with reverberant delay and restrained harmonic motion.

Hackett wrote all tracks except “Funny Feeling” (by keyboardist Nick Magnus) and “Overnight Sleeper” (lyrics by Kim Poor). Hackett and Magnus co-produced the album with engineer John Acock. The trio handled all programming and overdubs, with no involvement from the touring lineup of prior albums.

A1. “Hope I Don’t Wake” (3:48)
A2. “Picture Postcard” (3:55)
A3. “Can’t Let Go” (5:43)
A4. “The Air-Conditioned Nightmare” (4:42)

B1. “Funny Feeling” (4:07) — written by Nick Magnus
B2. “A Cradle of Swans” (2:49)
B3. “Overnight Sleeper” (4:37) — lyrics by Kim Poor
B4. “Turn Back Time” (4:23)

2007 CD bonus tracks:
9. “Tales of the Riverbank” (2:00) — based on Andante in C, Op. 43 No. 6 by Mauro Giuliani
10. “Second Chance” (2:00)
11. “The Air-Conditioned Nightmare” (Live) (4:08)

Sessions took place in 1981 with Hackett performing vocals, guitars, and bass. Magnus programmed the LM-1 and played all keyboards. John Hackett contributes flute on “Overnight Sleeper” and bass pedals on “The Air-Conditioned Nightmare.” Bimbo Acock plays saxophone on “Picture Postcard.”

The cover photo is by Kim Poor, with the album title referencing Hackett’s convalescence following burnout from previous tours. Cured reached No. 15 on the UK Albums Chart and also charted in Norway (No. 21) and Sweden (No. 29).

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Highly Strung

Steve Hackett released his sixth solo album, Highly Strung, in April 1983 on Charisma and Epic.

The album merges Hackett’s guitar-driven aesthetics with a more electronic palette shaped by layered keyboards, programmed textures, and a heavier rhythmic presence. “Camino Royale” opens with shifting time signatures and synth-accented motifs, while “Cell 151” layers tense vocal phrasing over a digital pulse and remains his only solo UK charting single. Ballads like “Weightless” and “Always Somewhere Else” balance harmonic subtlety with dense keyboard arrangements. Tracks such as “Group Therapy” and “Hackett to Pieces” lean toward instrumental interplay, with Hackett alternating fluid leads and staccato figures over structured synth beds. The lyrical tone is often opaque, with recurring themes of confinement, isolation, and surreal imagery.

Hackett wrote all tracks except “Camino Royale” and “Hackett to Pieces,” co-written with keyboardist Nick Magnus. Magnus also served as co-producer, played keyboards and vocoder, and contributed to engineering. The album marked the addition of drummer Ian Mosley—shortly before he joined Marillion—and featured cellist Nigel Warren-Green and bassist Chris Lawrence on select cuts. It would be Hackett’s final studio release for Charisma.

A1. “Camino Royale” (5:28) — written by Steve Hackett and Nick Magnus
A2. “Cell 151” (6:25)
A3. “Always Somewhere Else” (4:02)
A4. “Walking Through Walls” (3:48)
A5. “Give It Away” (4:08)

B1. “Weightless” (3:31)
B2. “Group Therapy” (5:47)
B3. “India Rubber Man” (2:31)
B4. “Hackett to Pieces” (2:40) — written by Steve Hackett and Nick Magnus

2007 CD bonus tracks:
10. “Guitar Boogie” (2:12) — written by Chuck Berry
11. “Walking Through Walls” (12″ Version) (5:55)
12. “Time Lapse at Milton Keynes” (3:52)

Sessions took place between February and November 1982 at Berry Street Studios, Marcus Music, and Redan Recorders in London. Hackett and Magnus produced the album with John Acock, who also played synthesizers and engineered. Cover art was painted by Kim Poor, continuing her visual contributions to Hackett’s catalog.

Highly Strung reached No. 16 on the UK Albums Chart. The single “Cell 151” peaked at No. 66, marking Hackett’s only solo appearance on the UK Singles Chart.

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Bay of Kings

Steve Hackett released his seventh solo album, Bay of Kings, in October 1983 on Lamborghini Records and Chrysalis.

Departing from the electronic textures and song-based structures of his prior work, Bay of Kings presents an all-instrumental set centered on nylon-string classical guitar. Hackett explores pastoral melodies, modal voicings, and intimate chamber-like arrangements, supported sparingly by synthesizer textures and flute. “The Journey” and “Marigold” combine layered acoustics with light ambient keyboards, while pieces like “Kim” and “Cast Adrift” focus on delicate phrasing and spatial dynamics. Several tracks date back to earlier sessions, including “Horizons,” originally featured on Genesis’s Foxtrot (1972).

Hackett composed all tracks except the traditional “Tales of the Riverbank” and “Skye Boat Song.” He performs on guitar and occasional keyboards. John Hackett contributes flute and additional keys, and Nick Magnus adds light synth support on selected tracks. The album’s stylistic shift led to Charisma’s refusal to release it, prompting Hackett to issue the album through Lamborghini Records, an independent label operated by Patric Mimran.

A1. “Bay of Kings” (4:57)
A2. “The Journey” (4:15)
A3. “Kim” (2:25)
A4. “Marigold” (3:37)
A5. “St. Elmo’s Fire” (3:08)
A6. “Petropolis” (2:46)
A7. “Second Chance” (1:59)

B1. “Cast Adrift” (2:15)
B2. “Horizons” (1:47)
B3. “Black Light” (2:32)
B4. “The Barren Land” (3:46)
B5. “Calmaria” (3:23)

Camino CD reissue bonus tracks:
13. “Time Lapse at Milton Keynes” (3:57)
14. “Tales of the Riverbank” (2:02) — traditional
15. “Skye Boat Song” (1:37) — traditional

Recording took place intermittently between 1980 and 1983 with co-production by Hackett and John Acock. The album’s original cover featured a nude painting by Kim Poor, which was replaced in later editions at her request with a portrait of Hackett. A Japanese edition featured alternate artwork with a stylized guitar motif.

Bay of Kings reached No. 70 on the UK Albums Chart and marked the beginning of Hackett’s parallel career in contemporary classical and acoustic music.

Steve Hackett released his ninth solo album, Momentum, on 28 March 1988 on Start Records.

The album presents a focused return to acoustic classical guitar, building on the intimate chamber style first explored on Bay of Kings. Momentum features eleven original and adapted pieces, primarily solo guitar compositions that evoke meditative, lyrical, and occasionally somber moods. “Cavalcanti” opens with stately phrasing and shifting rhythmic motifs, while tracks like “Portrait of a Brazilian Lady” and “The Sleeping Sea” emphasize flowing melodic lines and spacious voicings. “Variation on a Theme by Chopin” reflects Hackett’s fondness for 19th-century romanticism, interpreted through his distinct tone and touch. The title track closes the album in compact, reflective form.

Hackett composed the material apart from a collaborative piece (“A Bed, A Chair and a Guitar”) and the adapted classical works included in later editions. His brother John Hackett contributes flute to selected tracks, adding lyrical counterpoint. The album was co-produced with longtime collaborator John Acock.

A1. “Cavalcanti” (6:13)
A2. “The Sleeping Sea” (3:27)
A3. “Portrait of a Brazilian Lady” (5:15)
A4. “When the Bell Breaks” (3:03)
A5. “A Bed, A Chair and a Guitar” (2:44) — written by Steve Hackett and traditional

B1. “Concert for Munich” (4:55)
B2. “Last Rites of Innocence” (5:28)
B3. “Troubled Spirit” (2:30)
B4. “Variation on a Theme by Chopin” (4:55)
B5. “Pierrot” (2:53)
B6. “Momentum” (2:38)

2001 Camino Records CD bonus tracks:
12. “Bourée” (1:34) — by Johann Sebastian Bach
13. “An Open Window” (9:02)
14. “The Vigil” (6:19)

Sessions occurred between 1987 and early 1988. Hackett plays all guitar parts and also contributes keyboards. John Hackett plays flute on selected tracks. The cover artwork is by Kim Poor, continuing her visual contributions to Hackett’s solo discography.

Momentum emphasizes melodic expression over technical display, and further solidified Hackett’s dual career as both electric and classical guitarist.

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Discography: