When you have been the front man for one of the most successful Genesis tribute bands in the UK and some would say Europe, what do you do when it’s time to call it a day? The same can be said if you are the keyboard player for the same well travelled band and no longer playing the most prestigious tunes from the vast Genesis canon. A touch of cart diem methinks and such powerful musical energy channelled into writing and recording quality original songs and music. With finely honed skills gained over the years of playing live concerts delivering some of the most challenging and technical pieces of music with such accuracy and enthusiasm singer/songwriter and multi-instrumentalist Tony Patterson teamed up with Re-Genesis keyboards virtuoso Doug Melbourne to create a new musical direction for the pair and to via slightly off course from what may have been expected of them. Gone are the lengthy keyboard solo’s and winding guitar motifs for which Re-Genesis were famous to be replaced by much more poignant lyrical style and a more contemporary musical style.
We’ve Been Expecting You is Tony and Doug’s third album since mothballing Re-Genesis and continues with a signature the pair have made their own. World events and dare I say some of the songs are of a personal nature and reflect the frustration, pain and sadness that losing a loved one and suffering serious ill-health can bring to a person’s door step. Don’t get me wrong, there are some great tongue in cheek references and above all else, killer production. The album begins with Don’t Lose Your Soul, a song about holding on to the very essence of who you are and believing in yourself. Beginning with the deep and emblazoning THX cinema opening (remember that?) and a romping piano, this really is a departure from the intense Prog nature of early Genesis tunes via an exquisite synthesiser break and Mellotron conclusion which serves as a reminder of Tony and Doug’s previous commitments as key members of Re-Genesis.
With a classy vibes intro and a very lazy whistling Darkest Hour finds a very fine coat of polish on the plush and silky production reflecting the effects of loneliness, isolation and depression. This sleepy jazz feel show the both the musical ability of Tony and Doug coupled with structure throughout the whole composition. This travels on throughout the next song which highlights the horror we all face in the event of a nuclear attack. The soothing Fender Rhodes piano and Tony Patterson’s haunting voice disguise the sinister magnitude behind a tail of complete lack of capitulation resulting in a nuclear strike upon another nation. Great Hammond organ inflections by Doug Melbourne and absolutely superb orchestration by Tony Patterson, however, what seals the deal here is a blinding guitar solo by a very youthful Stewart Colley. To continue in the theme of current affairs Small Boats Finds the duo expressing the despair of migrants crossing the English Channel in less than seaworthy craft and in some cases losing their lives to get to the UK. The spirit of the song neither condones or condemns the trafficking of those seeking refuge. It is a song that highlights the fact that above all else they are people. Orchestration is of it’s best throughout the album here aided by North East horn maestro Fred Arlington.
Yet another dreamy opening heralds Sandcastles a song of hope with an almost gospel style to it. A song about strength in the face of adversity. It’s about staying strong and resilient no matter what happens to you. It’s about staying strong. Some fine vocal harmonies are underpinned by Doug Melbourne’s steely Hammond organ culminating in the pairs musical synergy which spills over into the next song Grace featuring Tony Patterson’s daughter Rebecca singing backing vocals and Steve Brown of Rush tribute band Moving Pictures on guitar. Beginning with Doug Melbourne’s richly textured Prophet 5 synthesiser and Gladys Pippins subtle harp is a song about the complete declaration of love. I a similar vein is Oceans Apart which to my mind is despite it’s intense orchestration a sonet. It is only after two minutes of sound effects, seagulls and their likes and some wonderful orchestration that you experience the piece as a whole.
It is without doubt though, that celebrating Tony and Doug’s mutual love of James Bond defines what is without doubt the title track of the album Spies. A very tongue in cheek overview of the Bond franchise and the concept of cold war spies as a whole with a nod and a wink to the late John Barry composer of many Bond themes and incidental music. The opening piano stabs give the impression of Morse code and the song a joy to listen to. The concluding song of the album is Heal, and finds Tony and Doug going chill out. Lovers of bands like Morcheeba, St Germain and French band Air will instantly warm to this song methinks. With such a svelte finale rather than a hurried musical halt to proceedings, Heal eludes the comfort of a finely tailored suit and the slowing of an album best played on repeat rather than left to finish. The song reveals the notion that love wins every time, a notion to cling to in such harrowing times.
We’ve Been Expecting You as an album of finely crafted songs demonstrates perfectly what modern production techniques can do in the right hands as well as projecting strong and passionate song writing along with virtuoso playing. To be found here are two musical craftsmen who whilst not always taking themselves seriously are without doubt two of the most serious musicians not given their fair share of the limelight. We’ve Been Expecting you is an album to immerse yourself in and let the music wash over you unlike many other sound bites of the streaming culture. Patterson and Melbourne seem to have hit their stride with this their third collaboration and given the quality in most aspects of this album and the previous two it is to be hoped thay press on with their fourth.
