ANTHONY PHILLIPS

Original Genesis guitarist takes his rarest instruments and shines.

Anyone ancient enough to remember the earliest Genesis gigs may recall two chairs always positioned stage right; one for Mike Rutherford, the other for lead guitarist Anthony Phillips, who loved sculpting the 12-string guitar textures that glazed the Trespass era. Unhappy with Genesis’ solidifying musical direction but also citing stage fright and health issues, Phillips left in June 1970, studying classical guitar at London’s Guildhall after hearing Jean Sibelius convinced him to up his game.

With Rutherford’s support, Phillips returned with 1977’s The Geese And The Ghost, further albums including Sides, and ’83’s Invisible Men his requisite stab at prog pop mainstream (his Private Parts & Pieces volumes indulged instrumental explorations). By 2005’s Field Day, Phillips had arrived at a more intimately personal instrumental style, graced by sensitive virtuosity and uncanny melodic sensibility.

Still unconvinced his skills did the material justice, although he’s collaborated with Andrew Skeet amid composing TV and film music, it took years for Phillips to consider Strings Of Light ready to shine. It was worth the wait.

Phillips created the album of his dreams on priceless rare guitars listed next to each of the 24 pieces, revisiting the acoustic layers he loved 50 years ago, without a band in the way (disc three emphasising the point in 5.1 Surround Sound). Glistening like delicate mosaics of finely-cut diamonds, Winter Lights and Pilgrimage Of Grace shimmer with gossamer luminescence as he weaves micro-melodies into flickering blankets of beauty, melancholy and joy. Restless Heart and

Days Gone By echo Yellow Princess-era John Fahey, that huge influence on prog’s first guitarists who also revered Sibelius. But where Fahey reflected America’s arcane sweep, Phillips remains in thrall to old England, as homaged on 1999’s English Pastoral, continued here on Diamond Meadows and Still Rain. If medieval courtliness underpins Fleur-De-Lys, Castle Ruins and chamber poignancy of Caprice In Three, Trespass spectres echo through the translucent ripples of Mystery Tale and Shoreline.

Phillips saves his peak masterworks for the home stretch, Grand Tour starting as cut-glass reflection before upping gears to mountain glory, 10-minute closer Life Story a deep space reverie enhanced by cello-like drone.

Just as he escaped encroaching fancy dress aspects that threatened his music’s purity nearly half a century ago, Phillips has made a remarkable modern classic that raises the bar for progressive guitar albums, even prog itself.

A welcome respite from cloddish modern chest-beating, music is rarely allowed to be so beautiful.

GLISTENS LIKE DELICATE MOSAICS OF FINELY-CUT DIAMONDS.