A Curious Feeling
| A Curious Feeling | ||||
|---|---|---|---|---|
 |
||||
| Studio album by Tony Banks | ||||
| Released | 8 October 1979 | |||
| Recorded | Spring-Summer 1979 Polar Music Studios, Stockholm, Sweden |
|||
| Genre | Progressive rock | |||
| Length | 52:54 | |||
| Label |
Charisma Charisma/Polydor (US/Canada) Caroline (US) |
|||
| Producer | Tony Banks, David Hentschel | |||
| Tony Banks chronology | ||||
|
||||
| Professional ratings | |
|---|---|
| Review scores | |
| Source | Rating |
| AllMusic |   |
| Classic Rock |   |
| Record Collector | |
A Curious Feeling is the début solo album from Genesis keyboardist Tony Banks. Recorded at ABBA's Polar Music Studios during a brief Genesis hiatus, it was released in 1979 on Charisma Records and is one of only two of Banks' solo albums to have entered the UK Albums Chart, reaching 21 and staying on the chart for five weeks.
The cover design is by Hothouse, and the cover painting is Wuluwait - Boatman of the Dead by Australian artist Ainslie Roberts.
The instrumental piece "From the Undertow" was used in the 1978 British film The Shout, for which Banks, with Mike Rutherford, composed the incidental music. No soundtrack of the film was released. The piece was originally intended to be the intro to "Undertow" from the Genesis album ...And Then There Were Three... (hence the title).
The album was re-released on 19 October 2009, remixed from the original masters by Nick Davis, who also created a 5.1 DTS 96/24 surround mix which is available on the second disc of the deluxe edition.
According to Banks himself, the album "got some extremely scathing reviews, I don't think they were fair" but he conceded "this was post-punk and this was really not the album that people wanted to hear".Classic Rock reviewer Jerry Ewing agrees with Banks, writing that the album is made of "lush pastoral English prog rock that deserved better at the time" and is probably the musician's best solo effort.
AllMusic gave a positive retrospective review, asserting that "Banks manages to capture the wonderment and allure that enveloped Genesis' Peter Gabriel days... yet he filters out the instrumental intricacies, unorthodox time signatures, and complex poetry which enveloped these works to create a milder but equally effective progressive realm." They praised the album for lacking the instrumental pretentiousness that most would have expected, instead focusing on strong progressive rock compositions.
...
Wikipedia