From the Undertow: A Journey Through Loss, Memory, and the Echoes of Time
Ah, Tony Banks. The name alone conjures images of swirling synthesizers, intricate piano melodies, and the very backbone of Genesis. For those of us who grew up with the band, his contributions were always felt, often subtly, but profoundly impactful. He was the architect of many of their most majestic soundscapes, and it was in 1979, during a pivotal break for Genesis, that he stepped out with his first solo offering, A Curious Feeling. And what an introduction it was, beginning with the haunting instrumental, “From the Undertow”.
This piece, though instrumental, speaks volumes. It’s a profound exploration of loss, memory, and the overwhelming feeling of being swept away by life’s currents, a theme that permeates the entire A Curious Feeling album. The album itself, which reached a respectable No. 21 on the UK Albums Chart and No. 171 on the US Billboard 200, was originally conceived as a musical adaptation of Daniel Keyes’ poignant novel Flowers for Algernon. While the direct lyrical connection to the novel was ultimately abandoned due to an existing musical, the essence of a mind grappling with profound change and memory loss undeniably lingered, particularly in pieces like “From the Undertow”.
The story behind this particular track is fascinating and reveals a glimpse into the creative dynamics within Genesis at the time. “From the Undertow” actually began its life as an extended introduction for the Genesis track “Undertow” from their 1978 album, And Then There Were Three. However, as legend has it, Phil Collins and Mike Rutherford felt the intro was too long and ultimately decided to cut it from the Genesis track. Ever the prolific composer, Banks recognized the beauty and potential in this discarded musical phrase. He reworked it, expanded upon it, and transformed it into the powerful opening statement for his debut solo effort. It’s a testament to his keen musical ear and his refusal to let a good idea simply vanish.
Beyond its origins, “From the Undertow” carries a weighty emotional resonance. It’s not a narrative in the traditional sense, but a pure distillation of feeling through music. The intertwining keyboard textures, often a hallmark of Banks’ genius, create a sense of deep introspection and melancholy. One can almost visualize the ebb and flow of emotions, like waves pulling one deeper into a tumultuous sea. For many older listeners, it evokes a sense of reflection on life’s inevitable changes, the moments when we feel overwhelmed, yet also find a strange beauty in the struggle. It’s the musical equivalent of looking back at a bittersweet memory, acknowledging the pain but also the profound growth that emerged from it.
The track was also briefly featured in the 1978 horror film The Shout, starring Alan Bates and Susannah York, though it wasn’t prominently used. This serves as another interesting footnote in its history, showcasing how Banks’ evocative compositions could lend themselves to various atmospheric contexts. But it is on A Curious Feeling, as the opening salvo, that “From the Undertow” truly shines, setting the stage for an album that, while perhaps not as widely celebrated as his Genesis work, remains a cherished gem for those who appreciate his singular musical vision. It’s a reminder that even in moments of perceived loss or artistic redirection, something beautiful and lasting can emerge from the depths of creativity. For anyone who has ever felt the gentle, yet insistent, pull of life’s unpredictable currents, “From the Undertow” offers a moment of poignant recognition and a glimmer of understanding.