MARK KELLY'S MARATHON

3 parts in this album including Amelia in 3 parts, with "Shoreline" as an ambient, airy intro, voice-over from Nasa behind bringing "Whistling at the Sea" to a tune by Alan Parsons, a soft, gentle, almost languorous piece bordering on Bee Gees of which we can notice the tone of voice of Olivier flirting or with that of John Mitchell, and that of the archangel; mid-tempo with a small variation on the piano then synth notes starting from APP to Genesis, calm and enjoyable guitar solo from John which imposes. "Bones" continues with a nursery rhyme tune that is more Genesisian than Marillionian and gives pride of place to vocals in a soul music style, explosive finale with drums, guitar and keyboards almost in the background, well we can hear the waves all the same.

"When I Fell" FM rock title, or ballad (yes at the time when correct radio existed) with a vocal murmur coupled with the keyboard solo including a Hammond from Mark, long awaited, sensation of having a bit of Barclay James Harvest here , final break with a singular bass-dub bordering on a nightclub. "This Time" the single from the album goes off with a pop, groovy tune, basic piano in the background, it's cool, danceable, for the pleasure of listening, confusing for a progue in search of emotion. "Puppets" arrives, monolithic piano intro, verse nothing but very normal until Steve Rothery's solo, moving; then the two start on a moving synth-guitar jig, erasing a little the boilerplate title from before; well there the prog oozes like in the days I would say of "Clutching", we leave, we are good with the 2nd final guitar solo.

"Twenty Fifty One" arrives, 4 parts including "Search" and a departure into space, ah that feels good, I have long imagined Mark making us dream, he does it here on this symphonic, progressive intro; fruity guitar solo from the Arabian Nights during this takeoff allowing "Arrival" to arrive with Oliver's own voice at the start then plunging secondly into that of Peter Gabriel, a title which gradually takes off halfway through like often, which slows down at the end to launch "Trail of Tears" reminding me more of Tony from Genesis than Mark from Marillion! A progressive break out of nowhere, finally from its keyboards, too short but hey, rarity is priceless; Oliver's calm voice and "Brief History" which ends the album with vocals and choirs, spleen guitar and keyboards supporting this fresh and cheerful pop-prog sound, on an instrumental finale here recalling the heyday of Marillion's first version.

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