Rando Ken's Album Reviews
Compared to The Geese and the Ghost, an album that was seven years in the making, Wise After the Event came out very quickly the following year. Anthony Phillips came up with material in a short time frame and ended up releasing what must be recognized as his greatest album. Wise After the Event is a source of counter-argument for anyone who chooses to dismiss Phillips as incomparable and irrelevant, given his short time in Genesis.
The album is quite progressive, though not as people would expect. The album gets its progressive qualities not from Phillips' association with Genesis; how could they with him leaving after being on the band's least progressively developed albums? Instead, Phillips uses associations with other figures. Mel Collins and Michael Giles, both of King Crimson, both appear on this album, providing a bit of Crimson to the album. The album is sometimes folky and sometimes advanced, as contradictory as it sounds but explained by the album cover. The music is easily as good as Peter Cross's design.
Anthony Phillips sings this album, something not seen elsewhere in his career. It is recognizable that other attempts at band members singing, like Mike Rutherford or Tony Banks, are not admirable and flavorless. However, Phillips' singing, while weaker, suits the music and themes on this album.
The songs are quite brilliant as well. You have We're All As We Lie, introducing Phillips' voice with some very catchy and well construed lyrics bringing together all sorts of figures. There's Wise After the Event, a fantastic epic dominated by 12-strings. Regrets brings an orchestra onto the scene adding more emotion to an already melancholic song. Now What concludes the album with a sorrowful and existential view on animal hunting, provided even more with Phillips' playing and vocals. Besides these key tracks, there is plenty of material on this album to enjoy once you get a hold of the style.
The album was not commercially successful in any way when released. By 1978, punks had hit the street and progressive was going out. But today, we can admire whatever genre we wish without regards to what music we have out today or what is in style. This record has the ability to be appreciated and relished as much as necessary and deserves its place. Phillips' album not only proves that but shows that he is a very competent guitarist who could be just as qualified and talented as his Genesis successor, Steve Hackett, though not to say who is better.
The album is quite progressive, though not as people would expect. The album gets its progressive qualities not from Phillips' association with Genesis; how could they with him leaving after being on the band's least progressively developed albums? Instead, Phillips uses associations with other figures. Mel Collins and Michael Giles, both of King Crimson, both appear on this album, providing a bit of Crimson to the album. The album is sometimes folky and sometimes advanced, as contradictory as it sounds but explained by the album cover. The music is easily as good as Peter Cross's design.
Anthony Phillips sings this album, something not seen elsewhere in his career. It is recognizable that other attempts at band members singing, like Mike Rutherford or Tony Banks, are not admirable and flavorless. However, Phillips' singing, while weaker, suits the music and themes on this album.
The songs are quite brilliant as well. You have We're All As We Lie, introducing Phillips' voice with some very catchy and well construed lyrics bringing together all sorts of figures. There's Wise After the Event, a fantastic epic dominated by 12-strings. Regrets brings an orchestra onto the scene adding more emotion to an already melancholic song. Now What concludes the album with a sorrowful and existential view on animal hunting, provided even more with Phillips' playing and vocals. Besides these key tracks, there is plenty of material on this album to enjoy once you get a hold of the style.
The album was not commercially successful in any way when released. By 1978, punks had hit the street and progressive was going out. But today, we can admire whatever genre we wish without regards to what music we have out today or what is in style. This record has the ability to be appreciated and relished as much as necessary and deserves its place. Phillips' album not only proves that but shows that he is a very competent guitarist who could be just as qualified and talented as his Genesis successor, Steve Hackett, though not to say who is better.
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