MARILLION

Hogarth was quoted as saying "I was determined not to reference the pandemic 'cos I thought every writer under the sun was going to do it. But everything I was trying to write, it kept worming its way into the words."

Well, it shows. and it's not great. I would've rather not had an album at all.

Care is kind of a masterpiece, but if you're a citizen of the United States, you will feel only shame. The song is a celebration of nurses, doctors, and other healthcare workers (and the NHS particularly).

The Crow and the Nightengale is _almost_ perfect, except for the fact that the lyrics are about a crow who can't fly. What?

'This Strange Engine' is Marillion's 1997 release and it also happens to be the band's first album after their split with EMI, before going completely independent just a few years later. In accordance with the title, it is a strange album, definitely blander than the couple ones preceding it, with a much heavier reliance on acoustic instrumentation, more "stripped down" kind of songwriting, and a general return towards the poppier and more alternative sounds displayed on 'Holidays in Eden', for example. The album does lack that conceptual drive of 'Brave' and even 'Seasons End', and while the great lyricism is prevalent, 'This Strange Engine' is way too mellow, much less melodramatic, and unfortunately mostly forgettable.

One could consider the turmoil surrounding the band at that period in time as reflected upon the quality of the music but at the same time we should notice how intense in terms of releases the end of the decade also is for them. So all of this puts the album in a weird position, as it is not a great follow-up to 'Afraid of Sunlight' and it captures the side of Marillion's music that is perhaps least adventurous and most derivative of other popular styles at that time. Still, the longer tracks are to be seen as highlights, with the great opener and the gorgeous title track, and the ever so lovely 'Estonia'. It also seems that at this point the band has completely abandoned their pursuit of writing a top hit, mostly considering the influence of 'Kayleigh', the very radio-friendly 'Hooks in You' and even 'Cover My Eyes'. Definitely a less consistent or intriguing Marillion album.

Existing mostly as an underrated gem in Marillion's back catalogue, 'Afraid of Sunlight' stands as one of the band's greatest statements on rejecting commerciality, as the album explores both the funkier and the more melodramatic side of their musical identity, which at this point we could say has been fully forged. With very intimate and subtle musical passages, intertwined with more upbeat melodies, the band picture a very vivid musical picture that comments on fame (more generally speaking), despite not making a full-blown concept album. The slow build-up towards the masterful cinematic guitar solos of Rothery is explored in a beautiful way on this record, enhancing by all means the prominence of Pete Trewavas, who seems to be embracing an even wider variety of influences (including the Beach Boys!)

Needless to say how intelligently Mark Kelly's keys create a very elegant yet sheltering atmosphere for each composition on here, while the fantastic vocals let the songs take an ever more vivid shape. The album does contain several signature Marillion songs like the title track, 'Beautiful' and 'Out of This World', all of which are among the cornerstones of the band's live shows, too, while other lesser known pieces like 'Gazpacho', 'Beyond You' or 'Cannibal Surf Babe' are no less brilliant and reveal the depth to which Marillion are able to go into when honing the presentation of their songs. The album does feel like a stylistic divergence from 'Brave', which stands as a very expansive, lush, and atmospheric, while 'Afraid of Sunlight' remains a more organic, unhinged, and emotive album. All in all, it is a fantastic journey that can be appreciated easily by a variety of listeners.

'Brave' is one of the most potent, meticulous, and voluptuous albums by Marillion, and arguably of the entire decade of the 1990s, marking the arguable beginning of the band's most exciting and exploratory period, in the concrete search and realization of what they represent within the musical climate, and where they stand as a contemporary British rock band. Being a concept album, all the pieces on 'Brave' are thematically and sonically connected, and this connection above all runs through the creeping melancholy that punctuates the entire story so beautifully, enhanced by the claustrophobic and lush instrumentation. The music on here is a very balanced and nearly perfect symbiosis between the pop leanings displayed by the previous two albums and the progressive rock pedigree of the band members.

It is worth mentioning that 'Brave' took a lot of time to see the light of day, and as the story goes, the honing of the album's sound had been quite a laborious engagement, nevertheless resulting in one of the finest concept albums by a progressive band. From the marvelous and unnerving beginnings of 'Living with the Big Lie', 'Runaway', and 'Goodbye to All That', through the more uplifting and punchy middle section of the album, descending into the gloomy and cathartic title tracks, followed up with the fantastic 'The Great Escape' and 'Made Again', the album is packed with intense emotion and intelligent musical craft. Hogarth shines both as a lyricist and a singer all throughout, while the music that accompanies his story is beyond graceful. With a creative achievement like 'Brave', Marillion had presented a fantastic musical work that encapsulates everything they stand for. The album is ever so daring in its modern interpretation of what progressive rock can sound like, and had in many ways set an own standard for the band.

1991's 'Holidays in Eden' is the album on which Marillion had gone as furthest away as possible from their traditional prog roots, the record being their most commercially sounding one, produced by a famous Irish pop producer in the face of Christopher Neil, together with them being somewhat "under pressure" from their label EMI and their own search for a new and recognizable identity. The result of all this is an interesting follow-up to the brilliant debut of Steve Hogarth on 'Seasons End', where the band had attempted to compile a bold, yet daring collection of songs. 'Holidays in Eden', on the other hand, seems to be a much less adventurous album. The band is now entering a new decade and are trying to reach a larger audience, with a sound that is very strongly punctuated by AOR as well as 90s pop music.

The more alternative edge of the previous album seems to have been replaced by a more simplified songwriting, with the album being quite an easy listen and even enjoyable by the more general music fan. Instrumentally there is nothing overly exciting, in my view, while the improvement of the vocals is noticeable. The opening track and the title track tend to be the more compelling pieces, better developed in terms of texture and musicality, while most of side two leans towards the forgettable, the moody and extensive soundscape-like pop music, making the overall connection to the album weaker. Good album, yet nothing too special. 'Holidays in Eden' might as well be considered a stopgap release for Marillion.

So we have hit the top 20 albums on the countdown, with the highest ranked Marillion album on the list [Prog Magazine's Top 100 Prog Albums of All Time]. I am going to call myself a level 2 as I have heard several songs from the album. The best-known songs on the album are Kayleigh and Lavender, both of which I know quite well. The album is a concept album conceived of by Fish during a 10-hour acid trip, with many of the songs having autobiographical elements. The tracks on each side of the original LP are connected to one another, much like Dark Side of the Moon. The theme seems to be about the loss of childhood innocence.

Let's check it out.

Track 1 - Pseudo Silk Kimono

We begin with a melodic synth part from Mark Kelly. Fish soon joins in with soft vocals. This seems to be primarily Fish & Mark, with an occasional atmospheric note from Rothery on guitar.

Track 2 - Kayleigh

We go straight into Kayliegh, one of Marillion's best known songs. It has a somewhat commercial mid-80s sound and structure, with the keyboards, and guitar with a lot of delay being the main focus, instrumentally, along with Fish's vocals (think Mr. Mister kinda vibe). I love the song, regardless of that. Drums and bass enter at around one minute into the song for the first chorus. Rothery follows that with a beautiful, melodic guitar solo. The solo closes with the keys harmonizing with his guitar lines. The second verse had subtle rimshot drumming and simple bass. The second chorus is similar to the first, but Fish is a bit more ad lib. The song closes with an arpeggiated piano part that leads us to?.

Track 3 - Lavender

This is based on a traditional children's song. Even though it is quite short at under 2:30, I believe it feels more proggy than Kayleigh. I love the way Fish delivers the lyrics, along with the arpeggiated pattern that Kelly & Rothery play. There is a brief melodic guitar solo after the chorus that brings us to?

Track 4 - Bitter Suite

This is a nearly 8 minute long 5-part suite as follows:

i) "Brief Encounter"

ii) "Lost Weekend"

iii) "Blue Angel"

iv) "Misplaced Rendezvous"

v) "Windswept Thumb"

A synth drone and some drum fills kick this one off. It sort of has the vibe of the intro from Dire Straits' Money for Nothing. The drums give way to Rothery's guitar. At around 1:40 Fish gives us a spoken word part. He begins singing at around 2:20. Just after 3 minutes in, the rhythm section kicks in with a Latin-style beat for a Rothery solo. However, at 3:40 the rhythm abruptly shifts to one similar to Lavender. After Rothery finishes his lead, Fish re-joins with vocals. Another solo follows as we remain on the lavender theme. Solo piano carries on with it until around 6 minutes, when they switch to a sustained rhythm bed without drums for Fish to sing over. Around 7:15, solo piano takes over again with Trewavas joining on bass along with Fish's vocals. Great track! A dancing piano part begins to carry us to?

Track 5 - Heart of Lothian

Lothian is the region of Scotland from which Fish hails. The title is a reference to the Heart of Midlothian in Edinburgh, a mosaic embedded in the road there.

There are 2 sections to the song as follows:

i) "Wide Boy"

ii) "Curtain Call"

Rothery joins the piano riff with staccato notes at first then the band kicks in then the notes are sustained. I believe we are in 7-8 at first, not sure after that. At 1:05 the tempo slows dramatically, with Rothery playing lead fills along with Fish's vocals. Excellent prog here. At 3:00 sustained keyboard chords accompany Fish's quieter vocals. This one fades-out entirely, as it concludes side one of the original LP.

Track 6 - Waterhole (Expresso Bongo)

This one begins with a mysterious sounding synth and lead guitar, before quickly exploding into a quick rhythm. The song is quite short, just over 2 minutes. Fish joins in after about 25 seconds. One of the keyboard parts sounds like a xylophone. However, just before the 1-minute mark, the rhythm changes and gives way to a heavy guitar riff. The change is very brief as the original rhythm is back after a few seconds. The cycle repeats then there is a transition to?

Track 7 - Lords of the Backstage

We are in a meter of 7 as this (also short) track begins. This is a very proggy riff. Very cool little song. This one abruptly gives way to:

Track 8 - Blind Curve

This is a suite in 5 sections as follows, it is also the longest track on the album at 9 and a half minutes:

i) "Vocal Under a Bloodlight"

ii) "Passing Strangers"

iii) "Mylo"

iv) "Perimeter Walk"

v) "Threshold"

We begin at a power ballad tempo with big power chords and Fish soon joins in. At one minute the beat pauses for some sustained chords. Fish joins in with the band playing accents on the first beat of each measure and some moving notes behind him. The beat kicks back in around 1:50 and Rothery takes a guitar solo. At 2:30 there are harmonized parts. Another verse follows with arpeggiated clean guitar and rhythm section backing. Things shift at around 4:20 with Rothery playing clean guitar by himself. The music turns ominous at around 5:20. Low droning chords with eerie keyboard notes over the top of barely audible spoken words. Mosley is playing an almost tribal rhythm on the tom-toms. Fish gets louder, repeating the phrase "the childhood" several times. The music explodes at 6:40 with big chords over a slow rhythm. Fish joins back in at around 7 minutes. The rhythm shifts again at around 8:45 with Rothery playing a melodic lead part. A sustained synth note closes this dynamic, excellent track, leading us to...

Track 9 - Childhood's End?

This begins with Rothery playing a staccato tune with a delay effect. The rhythm section comes in shortly thereafter. Fish starts singing at around 30 seconds. Sudden sustained big chords hit for the chorus at 50 seconds. The popcorn rhythm returns at 1:10 for a second verse, partly sung with harmonies. The chorus returns thereafter. Rothery takes over for a solo at around 2:20, followed by another verse and chorus. This is quintessential Fish-Era Marillion. The rhythm changes to an odd meter at about 4:15 as the song is nearing completion. That takes us to?

Track 10 - White Feather

The closing track is short at under 2 and a half minutes long. Rothery has a solo with lots of effects as the song begins. The song has a slightly marching feel to it, Fish is singing in a defiant way; basically saying "they" won't conform to the way society wants them to be. The song fades out and the album concludes.

OVERALL IMPRESSIONS:

An excellent album, I loved every track. I believe this is the pinnacle of the Fish era albums. Interestingly, only one of those 4 albums was NOT on the list, the second album, Fugazi.

I gave Script a 4.5 and Clutching at Straws a 4.75. This one gets a solid 5/5. Additionally, there were 3 "H" era albums on the list as well, with Marbles & Afraid of Sunlight each getting a 4 while the amazing Brave got a 5. Marillion had a very strong showing on the list. [Prog Magazine's Top 100 Prog Albums of All Time]

So, I'm a level 1 on this, I 've heard a few tracks, but not the whole thing. This album is a concept album based on a news story that Steve Hogarth heard before he had joined Marillion. There was a teenage girl found wandering on The Severn bridge, which connects England with Wales in the UK. The girl either could not or would not communicate with authorities, and they had to go to the media to find her family, who eventually claimed her. The album creates a fictitious account of teenage girl who had undergone trauma such as "SA", drug addiction, isolation and such to the point that she was considering suicide.

Track 1 - Bridge

Sound effects slowly fade in, and eventually there is what I perceive as a ship's foghorn, which gives way to orchestral synth-strings playing a melancholy melody. The vocals don't enter until after the 2-minute mark. They are very quiet and with minimal accompaniment. This leads to...

Track 2 - Living With the Big Lie

High pitched synth sounds set the stage, then H begins singing. On the second verse, more instrumentation begins to emerge gradually. The drums and guitar kick in at around 1:50. This song has to do with how the media has desensitized us to horrible things because we hear so many stories about such things. There is a cool slide into a new section that begins around 2:45. Rothery gives us a guitar solo a few seconds later. Things quiet back down at 3:20. There are ocean sounds with a quiet synth string part. Things get big again around 4:30. I love the drum fill around 5:40. There is a long, slow fade out of the song. Great track!

Track 3 - Runaway

Clean guitar, synth and vocals start this one off at a moderately slow tempo. Things build up around 1:30, and the drums and bass provide a steady beat. There is another build at around 2:0, but it quiets down quickly for a piano feature. Rothery has a signature guitar solo that begins around 2:50. Vocals return around 3:30 with Rothery playing fills between. H's vocals are inspired! The dynamic build at around 4:05 is great. Then things quiet back down as the song ends. Brilliant track, love it!

Track 4 - Goodbye to All That

This is a 12-and-a-half-minute suite that has 5 sections as follows:

- i. Wave

- ii. Mad

- iii. The Opium Den

- iv. The Slide

- v. Standing in the Swing

It begins quietly with H accompanied by Mark Kelly's keys. At around 1 minute, however, a deliciously proggy riff fades in and crescendos. The tempo and energy increase in a 7-8 meter starting around 1:40. As we proceed, the feel changes at times. There is a wonderful chaotic yet controlled energy after 3 minutes in. Things pause around 3:40 with sustained chords. There is a slow build over the next 2 minutes, with occasional soft vocals from H. Things begin changing again around 5:40. It's still quiet, but the vibe has changed and become more ominous. Rothery begins a clean, muted guitar riff at around 8 minutes that is joined by Mosely's drumbeat, giving some rhythm. There is a siren type of thing happening at just before the 10-minute mark that swirls into chaos. H starts singing peacefully at around 10:30 with gentle piano accompaniment. There is a rhythm build up by Trewavas on the bass at around 11:20 that reminds me of La Villa Strangiato by Rush. There is a big drum fill from Moseley at around 11:50, and the music explodes with great playing from Rothery & Kelly as the fantastic track concludes and leads to?.

Track 5 - Hard As Love

This one begins as a straight up rocker. With Rothery playing a riff to accompany H. The rhythm section & keys join in on the second verse. There is actually a sing-along type of chorus here. Kelly has some nice organ fills intertwining with Rothery's guitar lines. This is as heavy as I have ever heard Marillion. At around 2:10, though, things quiet down with clean guitar arpeggios and H's vocals. There are some nice piano lines along the way as well. Things begin to feel like they are building back up around 3:30. The song explodes at 3:50 with big power chords and drums. We get back into hard rock territory again. A wonderful organ solo follows. H's vocals are amazing. Mosely's drum fills during the last minute are killer! I LOVED THIS ONE!!

Track 6 - The Hollow Man

Piano and vocals start this one slowly and quietly. After the opening lines, the piano chords are louder, before dropping back down for the second one. Things start to gradually build up around 2:30, with Rothery playing guitar fills between phrases. I'd call this one a haunting ballad. Well-done.

Track 7 - Alone Again in the Lap of Luxury/Now Wash Your Hands

Rothery plays a speedy pull-off lick to start this one off. The band kicks in with a moderate tempo groove before the vocals join in. Harmonies join the chorus the second time around. Rothery plays a solo starting at around 2:40. Things get quieter after the solo, then build up for the next chorus. There is another feature from Rothery at around 5 minutes, along with ad lib vocals from H. Nice drum fills at around 6 minutes. Everything fades except a keyboard part and some lingering guitar feedback by the 7-minute mark. H sings the Now Wash Your Hands bit as the track comes to a close.

Track 8 - Paper Lies

There are some sound effects before Mosely plays a cool drum fill to bring the band in. The band plays a moderately fast rockin' riff to usher in the vocals. Rothery plays a wah-wah solo around 2:10. Nice half-time feel change at around 3:10. The original tempo resumes after 3:30. The song SEEMS to end at around 5 minutes, but the band winds down slowly over the next minute, and a synth sound takes over to lead into?

Track 9 - Brave

The synth sound keeps going and is joined by Uilleann pipes after 30 seconds. H begins singing over the droning synth at around 1:30. A 5-8 rhythm begins to build at around 4:15. H's vocals begin to emerge from the music at around 6 minutes in. The style returns to the keyboard/vocal style that started the song. This one seemed to me to be more about setting a mood and building an atmosphere than a traditional type of song. I believe they succeeded in that endeavor.

Track 10 - The Great Escape

This song has 2 subsections as follows:

- i. The Last of You

- ii. Fallin' from the Moon

Vocals begin immediately with piano accompaniment. After the first few phrases, there is a crescendo and orchestration kicks in along with the rest of the band. H's vocals are fantastic on this! Lot's of "big" sounds from the band. Things get quiet around 3:30 with piano, then a flute joins. The second half reminds me of "Lavender" from the Fish era. Beautiful track.

Track 11 - Made Again

Acoustic nylon string guitar starts this one then H joins on vocals. This reminds me of a Jon Anderson/Steve Howe duet in the vein of "Let's Pretend" from ABWH. At least until just before the 2-minute mark when it changes to a steel-string acoustic strumming with a more strident rhythm. There is a little electric guitar countermelody starting around 2:40. Piano joins at 3:10, then a bit of organ. Some subtle bass drum hits the accents as we go along. Bass comes in as Rothery plays a bit on nylon string again just before the song and album closes out.

OVERALL IMPRESSIONS:

Wow! Amazing album! Definitely one of Marillion's best. Anyone who discounts the "H" era and only likes albums with Fish are really missing out. I loved every track. I don't think I can do anything but give it a 5 out of 5-star rating.

I'll give myself a level 2 on this album as I have heard 5 of the 6 tracks on it. (close enough). In fact, the first track I heard from it was Garden Party when MTV played it for a while in 83. I didn't quite know what to make of it at the time, but I knew that I immediately loved it! MTV didn't know what to do with Marillion though, as they kept trying to feature them on Headbanger's Ball and seemed to consider them to be a metal band. (I remember Bruce Dickinson as a guest VJ playing Kayleigh a few years later.) It wasn't until the early 2000s when I became active online, that I began to learn more about Marillion and hear more of their music. While I have never owned a physical album, I have really had the opportunity to dive in in the age of streaming. So, without further fanfare, let's dig into the script!

Track 1 - Script for a Jester's Tear

We begin with the title track in which Fish begins singing with Mark Kelly's piano playing right from the get-go. The song is very theatrical, and (as has been said many times before) is reminiscent of Gabriel era Genesis. I love when the band kicks in at 1:25, then really changes things up at around 1:45. When we hit "the game is over" at 2:30. The tempo picks up even more and we get the first Steve Rothery guitar solo on the album. There is another short verse followed by a second guitar solo. I love the harmonized guitar lines. Things chill out at 4:05 and get very quiet for a moment. They have acquired Genesis' penchant for great use of dynamics to keep the music interesting. We have mid-tempo power chords at 5:45 as the band amps things up again. After a vocal section, Rothery has another short solo between verses. The song closes out on this section with a long fade-out. Superb track.

Track 2 - He Knows You Know

We fade in with a guitar riff, keys, and vocals. The rhythm section gives some accents, and we're off. There is a quiet part at around 1:40 and we kick back in at around 2:14. Mark Kelly is featured next on a simple but effective synth solo, followed by a Rothery guitar solo. While this all seems to be in 4-4 there is a lot of rhythmic variation happening underneath it all. Cool song.

Track 3 - The Web

This is the one that I don't think I've heard before. This one starts out a bit rock-ier than the first 2. However, after an opening verse, things come down to a quieter part with clean guitar arpeggios underneath. We pick back up again following that. At around 2:30 we have an even quieter part that begins with whispered vocals. The keyboards play a countermelody with the vocals starting at around 3:30. A guitar solo follows, with a lot more flashy fast playing than Rothery normally tends to do. Killer drum fills from Mick Pointer start at around 4:40 and herald a change of rhythm as the solo continues. The previous rhythm returns at around 5:05, while the solo still continues. The solo concludes around 5:30 and Fish returns with vocals. There is another quiet section around 6:15. There is a 6-8 keyboard pattern, then the rest of the band gives accents as they come back in to accompany a keyboard solo in 6-8. The solo is good, but the tone he is using needs a bit more presence. There is another verse and the song concludes. Pretty good track, but not my favorite on the album. Rothery gets a heck of a long time to solo, though, which is a plus.

Track 4 - Garden Party

Ah yes, my gateway Marillion song that I heard over 40 years ago and made an impression that never left. Still one of my faves from the band. Mark Kelly's synth pattern fades in, joined by accents from the rest of the band, then Fish's vocals. I love how Fish rolls his R's. I love how the band playing accents over the keyboard part builds tension. I also love the quiet parts with minimal instrumentation. I like the accelerated tempo as the keyboard solo starts. Trewavas has a nice bass line here. One of my favorite parts is the bridge following the keyboard solo (I'm punting?. etc. especially that rolled R on reclining. I'm guessing MTV played an edited version to censor the F bomb in this section). This is such a fun track. Very British! (Maybe that's why they never took off in the US in a big way.)

Track 5 - Chelsea Monday

After some ambient sounds, Trewavas plays a mid-tempo bass riff, and the vocals begin with more atmospheric types of sounds from the band. The band kicks in fully at around 2:10 with a soaring Rothery solo. While he showed that he can play faster, more traditional rock licks a couple of songs ago, this is where I think he really excels as a soloist. There is a quieter part following the solo with Fish singing in a recitative type of style?half spoken half sung. I love the keyboard tone at 5:20. Fish seems to be having a conversation starting at around 6:25. It seems like the song is coming to a close at 7:10, but not quite yet. There is a quiet closing section still to come before we wrap it up.

Track 6 - Forgotten Sons

We start with a radio being tuned to a channel, then a high energy, quick tempo riff begins. The opening verse has echoes after each line to effectively repeat each phrase. The tempo and rhythm change at around 50 seconds in. The keyboard and vocals are featured with band accents (a common device on this album). A guitar solo follows. But Fish comes back in practically screaming! Very dramatic vocals. Things drop out around 2:15 with a distorted guitar riff with different spoken word parts layered over the top. The band comes back together over Trewavas' bass riff and Rothery's funky guitar part with Pointer keeping a groove on the drums. Sustained keyboards ride over the top. After a short lull where the bass rhythmically repeats a single note, the band starts playing staccato accents while Fish does a spoken part that sounds like 2 different people at the same time are overdubbed. As we proceed through the section, things build in intensity. There is a brief pause in the music while Fish says, "Halt who goes there, Death, approach friend." Then there is a slightly quieter section where the band plays steadily as Fish sings about the horrors of war. Kelly occasionally plays trumpet-like parts that sound like bugle calls. And we close with a "Picardy third" (a major chord to end a piece in a minor key).

OVERALL IMPRESSIONS:

Wow, Fish sure keeps things intense, doesn't he? What really impresses me is that 3 of the 5 members on this debut album are still in the band more than 40 years later! There was a brief period where they tried to find the right drummer a few times before settling on Ian Moseley who remains to this day. Then, of course Steve Hogarth replaced Fish after he left the band and has remained in place for 35 years. But they certainly came to their debut album with a fully formed sound right away. This is a fantastic album, but I think they will reach their artistic peak with Fish a couple of albums later. I'll give it a 4.5 out of 5.

Clicking 4, but really 4.5!!

I am going to rate myself as a Level 1 as I go into Clutching at Straws. I usually like Marillion, but until I started this challenge, I had never heard any of their albums straight through, start to finish. Thus far, I've listened to Afraid of Sunlight, and Marbles, but this is the first Fish era album I've given a thorough listen to (even though it's his 4th and final album with the band. I have heard the following songs from this album? Hotel Hobbies, Warm Wet Circles, Slainte Mhath, and Sugar Mice. Should be good

According to Wikipedia, this is the concept behind the album:

The character of Torch (supposedly a descendant of the Jester from earlier album sleeves) is a 29-year-old out-of- work man whose life is a mess. He seeks comfort mostly in alcohol to numb himself. He is trying, but failing, to forget what lies at his feet?a failed marriage, being a deadbeat father, and his lack of commercial success as a singer in a band. As he gets drunk, he also writes about his surroundings and his laments. Since Torch has no other real outlet at his disposal, he ends up in bars, hotel rooms, and on the road, screaming and drunk, thus, he is described as beyond redemption or hope.

Track 1 - Hotel Hobbies

We fade in with keys & bass, and guitar joins. Fish starts with the first verse thereafter. Bass drum accents join in, and we keep building, until the steady rhythm begins. This is classic Fish-era Marillion. Excellent Rothery solo. Some of the early Marillion sounds like what Genesis might sound like with David Gilmour on guitar. This moves directly into?

Track 2 - Warm Wet Circles

This begins with arpeggiated clean guitar, then Fish joins in. We are in a moderate tempo, almost ballad-like feel. The chorus is just Fish & Mark Kelly on piano. Following that we have another wonderful, albeit brief, Rothery guitar solo. A bridge follows that. With a slightly heavier feel and guitar fills between vocal phrases. A piano feature takes us to?

Track 3 - That Time of the Night (The Short Straw)

Synth & bass start this one with a quintessentially 80s tone, to be joined by Fish. Rothery has some nice reverb- drenched guitar lines following the opening verse. The rhythm changes at around 1:40 and the tempo becomes more pronounced. Things briefly start rocking harder around 2:40. After another softer verse, things pick up again. Nice change of feel at around 4:25. The lyrics reference the previous track, chanting "Warm Wet Circles," repeatedly at the end of the song, first with Fish, then with the background singers only.

Track 4 - Going Under

Apparently, this track was only on the CD version at the time of release, not on vinyl or cassette versions.

We begin with clean guitar arpeggios and keys, to be joined by Fish. An outstanding brief guitar break fills in between the verses. After a short final verse, the short song concludes.

Track 5 - Just for the Record

A moderately upbeat keyboard pattern starts us off and the band and vocals start in a steady 7-8 pattern. Choruses between verses see the rhythm section bow out and keyboards & vocals are featured. We actually get a Mark Kelly keyboard solo, in a style that sounds like a cross between Tony Banks & Rick Wakeman-NICE! Excellent track, but it was over too quick.

Track 6 - White Russian

Wind sound effects and ominous minor-key keyboards start out here, followed by vocals, guitar & a band build up. We are in a 6-8 rhythm on this one. I like the vocal bridge with only keyboard backing. Rothery does a bit of VH style tapping in the solo. We change to 4-4 first at a quick tempo, then the tempo slows. Nice Rothery guitar work on the closing section along with Fish's excellent vocals.

Track 7 - Incommunicado

A keyboard riff fades in to begin this one. We are in 5-4, then we have a dramatic tempo shift and another brilliant Wakeman style keyboard break from Kelly. This is Fish-era Marillion at its finest. I love the alternating up-tempo and softer vocal sections. Kelly is the star of this one (along with Fish's dramatic vocal style). It screams to be played in a big arena.

Track 8 - Torch Song

Clean guitar with some occasional slide fills give this one a mysterious vibe. Moseley and Trewavas gave a nice rhythm section part going and the keys are subtle in the background on the opening verses. The keys take over at around 2 minutes in. There is dialog happening, but it's slightly buried in the mix. Fish's delivery is amazing following that interlude. This merges directly into?

Track 9 - Slainte Mhath

(Not sure how to pronounce that title.) A nice piano riff starts off before the band comes in in a toned-down Baba O'Reily fashion. Rothery plays a nice Gilmour-style delay-based guitar riff as the vocals begin. This Marillion era is excellent when it comes to big dynamic changes. I love the shift starting around 3:15. Great song, but too short!

Track 10 - Sugar Mice

This one starts out with a feel similar to "Lavender" from the previous album, "Misplaced Childhood." The melody. Occasionally reminds me of "Gettin' in Tune" from the Who when he sings "Blame it on me." A brilliant, soaring Rothery solo follows. The album title is contained in this song. Beautifully done song.

Track 11 - The Last Straw/ Happy Ending.

The opening line references the opening song of the album. The verse rhythm section parts remind me of "Imaginary Lover" from Atlanta Rhythm Section. Nice quietly dramatic bridge just after the 2-minute mark. The album title returns just before the guitar solo where the band kicks back in. Rothery is such an under-rated guitarist. His solos are always brilliant. Nice female vocals join in to duel with Fish as the song and album come to a conclusion. I guess the laugh at the end is the "Happy Ending". Wonderful track.

OVERALL IMPRESSIONS:

Fantastic album from start to finish! I loved every track. My only complaint is that I wish that some of the songs were longer; I was just getting into them, and they were over! I can see why some people only like the Fish-era Marillion albums, as there is a certain magic to them. Now, I also like the H-era Marillion albums, but they get a different vibe going as they evolve. I give this a very strong 4.75 out of 5 stars.

Clicking 5, but really 4.75, 4 is too low!

Surprisingly enough, I have to consider myself at level "0" on this album, as I have had it in my library on Apple Music for quite some time, but it never seems to come up. The only song I have any indication of having heard is "You're Gone (Single Version)." But, that said, I generally tend to enjoy Marillion (both Fish and H eras), so I doubt this will be an exception. (NOTE: After I began reviewing the album, I discovered that there are two versions of the album, and that Apple Music only has the short, single CD version. So, I am using the YouTube playlist for the full picture.)

Track 1 - The Invisible Man

We fade in on synth sound effects and then a synth bass rhythm This is the 2nd longest track on the album at over 13 minutes in length. More synth sounds emerge and a bit of percussion before the vocals begin. H shows his unique vocal style on the line "How did this happen," as he shifts to falsetto. Most of the instruments drop out shortly thereafter and begin to build up again. This song is a very slow build. The dynamic begins to increase as we hit the 5-minute mark. The rhythm changes again at about 6:30. I like the organ sound that comes in at around 8:30. Things are getting more intense. We are in 7-8 here. Things drop out in favor of piano at 9:40. It becomes almost a bit of a piano ballad, with piano, and a subtle bass & drum backing with some guitar fills. Those guitar fills lead to a brief guitar solo from Rothery. H's vocals are very intense around 12:45. The band showed a lot of restraint in this song allowing it to build up slowly. The song ends abruptly. Good track.

Track 2 - Marbles I

There are four Marbles parts distributed on the album, with the longest one being just over 2 minutes long. The first one is rather jazzy.

Track 3 - Genie

This one begins with mellow guitar arpeggios and vocals. The rhythm section gradually works its way in, along with subtle keyboard backing. The rhythm becomes more steady starting around 2:30. Followed by a nice bridge. The vibe of this one is very Beatle-esque. I love how this one built up as it went along.

Track 4 - Fantastic Place

Another mellow start. Very quiet indeed at the beginning. This one feels a bit like it's going to be a song like the band Live did in the 90s (Example- Lightning Crashes). However, by the 2nd verse, the vibe has changed to an almost 70s pop-rock vibe. Nice solo from Rothery. I like some of the chord changes as the song goes along. I like the backing harmonies that enter at around 3:45. A second solo from Rothery, this one more in his signature style. Excellent singing near the end from H.

Track 5 - The Only Unforgivable Thing

An organ fade-in licks us off, soon joined by bass drum heartbeats. There is another slow build happening in this one. The tempo and dynamic level changes at around the 4-minute mark. I like the vocal harmonies at around 5:20. The organ is again featured at the end.

Track 6 - Marbles II

Another brief interlude, with H singing about his childhood love of playing marbles.

Track 7 - Ocean Cloud

The big epic of the album at nearly 18 minutes, starts with H singing 2 a cappella lines. We then get shoreline sound effects and gentle guitar strumming with very subtle bass and synth sounds filling in the spaces. Ian Moseley plays a lot of rim-shot snare beats on this album. I like the heavier guitar sound that briefly appears at about 3:00, just before the band kicks in heavier behind Rothery's slide guitar solo. There are some nice organ sounds at around 4:45. The band takes it into overdrive at about 5:15, reminiscent of rough crashing waves during an ocean storm. They bring it back down at around 6 minutes in. There are what sound to me like sounds that represent the sun coming back out. In this portion of the song, there are news reports or radio transmissions describing the storm. At around 8:25 we have a prog-gasm as the band kicks back in with full force! I love the juxtaposition of heavier and mellower parts in this track. A new 6-8 rhythm greets us around 10:15. At shortly after 13:00 the 6-8 becomes even more pronounced as we have a gloriously slow massive crescendo. At around 14 minutes things ease off again and Pete Trewavas' brilliant bass playing is featured. At around 15:15 H whispers a few lines and Mark Kelly provides some interesting synth sounds. Following that Rothery gives us another excellent guitar solo. At approximately 16:30 we get serene sounds and sea birds singing. Those seabirds bring us to a close. OUTSTANDING TRACK!! One of the finest Marillion songs I have heard thus far. (Even if I'm only 20 years late in hearing it!)

Track 8 - Marbles III

This portion of the Marbles tracks is more rhythmic than the first 2.

Track 9 - The Damage

We open with a strident, piano-led 4-4, punctuated with a brief guitar feature before the first verse. This sets a pattern for the phrases of the first verse that end with these heavier accents. This one is almost giving me Spock's Beard vibes, but with H's unique vocal style. (Of course, Pete Trewavas is bandmates with Neal Morse in Transatlantic, possibly an influence?) Lots of power chords and even a hint of guitar feedback here & there. Probably the hardest rockin' song on the album, at least so far.

Track 10 - Don't Hurt Yourself

Acoustic strumming, slide guitar and bass lead the way on this one. The drums kick in at around 0:35 and establish an upbeat tempo. This song is a pretty straight forward, (possibly radio-friendly) track. Good track, I like it, but not exactly prog.

Track 11 - You're Gone

We start this one with a bit of a funky beat on what my ears think is a drum machine (apologies to Ian Mosely, if I am wrong). Mark Kelly plays a synth melody over the top as H's vocals come in. Rothery has some nice guitar fills as we proceed, while Trewavas has a nice bass line. I really like H's vocals in the chorus. The overall sound of this track reminds me of another song from this era of music (maybe even late 90s) that I can't quite place. A phasey eighth-note pattern is giving me those vibes.

Track 12 - Angelina

Sound effects at the beginning, sounds like someone starting a car and driving off then fiddling with the radio. Slow jazzy guitar chords and vocals take over shortly thereafter. We have a shift at just before 2:00. Is Angelina a DJ, or is it a metaphor, not sure yet. Pretty mellow track so far. Rothery gives us a clean guitar solo starting around 5:20.

Track 13 - Drilling Holes

Almost a new wave/funk sound here at the beginning. I like Mark Kelly's synth sounds. Things are building up with a nice ascending pattern in the instrumentation. Harpsichord enters the sound at around the 3:00 mark. The 5 note ascending pattern returns and thin things settle down a bit again.

Track 14 - Marbles IV

This one sounds like it's performed live by a real lounge-lizard kind of band. Only the synth sounds take us out of that vibe.

Track 15 - Neverland

The third longest track at 12:10. We start out quietly until the drums kick in at 1:25. They start building anticipation with Rothery's power chords after that. Then we get a signature Rothery guitar solo between verses, with that soaring/singing sound that he does so well. Kelly gives us some nice keyboard beds under the verses as we progress. At just before 4:30 we have an acoustic guitar solo, before we return to that great Rothery electric soloing. The next portion is full of delay-soaked vocals. Kelly plays some nice synth fills underneath the vocals. He doesn't seem to take solos very often, but I like what I hear from him. So nice to hear Rothery so prominent on this track. Things appear to be winding down at 10:30, but still a minute and a half to go. OK, so we have triangle and/or finger cymbals for a bit, but still 0:45 left? Hmm slow fade out.

OVERALL IMPRESSIONS:

Great album on the whole, but some tracks stand out more than others. The star of the album is definitely Ocean Cloud for me! I am glad I discovered that there were 2 versions of the album, or I would have missed out on that one. I don't understand why they released a shorter version of the album missing the best track. A few of the tracks are just OK for me, not great. Nothing bad here though. I give it 4 out of 5 stars. Ocean Cloud definitely brings it up from what would have been probably 3.5 stars.