CLUTCHING AT STRAWS

Only a hair less brilliant a concept than Misplaced Childhood, Clutching at Straws is still one of the strongest Marillion albums, and maybe Fish's best compositionally. Every song has an internal logic and beauty that defines one or another element of prog-rock. And although the album as a whole is less "cohesive" than Childhood, it remains a must-have for prog-rock fans.

As I had almost discarded this one away for the major concept was not easily graspable and the much shorter and more conventional tracks and other dumb reasons a yougster can think of. I was asked repeatedly to give a second chance and after many tries I finally had to agree that this one is a good Marillion album, but no more. But I do like the album better than Misplaced Childhood and Fugazi (simply too metallic).

In some strange sort of way, the artwork sleeve depicts well the musical change of this album and give a good idea of the content, the Jester is on its way out and the Drummer Boy (it was sensed to be taking over from the Jester as the main artwork figure) is also absent. Marillion was leaving chilhood and moving towards adult age.

Marillion is a guilty pleasure among purist of prog. Fine, I can live with that. But this one stole my heart over any other Marillion record. Among ProgArchives suggestions, THIS one should've been underlined and promoted as a suggestion. I think Clutching at Straws is a mini-tad over Misplaced Childhood. Althought it's not AS progressive as the others, this record scores on the lyrics and the intensity of Fish. Drugs, more drugs and so on. This is really an ultimate cry for help, which makes this record the breaking point for Fish' health. After this record he had to go in rehab in a place where nobody could join him. Not even his wife, somebody told me.

Sadness, resignation and fascination facing more popularity, the lyrics are mature and wonderfully coherent. Like Robert Smith (The Cure) or Tim Booth (James), Fish is explicit towards illegal substances but also so fragile and open hearted. We know exactly what he means in such few words. I guess every good thing has an end. Few bands kept such high quality throughout their musical route....

Now that everything's over, where do we go from here?

This terrific album, like many others (Rush-Signals, Genesis-Foxtrot, Triumvirat- Spartacus...) has NO ordinary piece: ALL the songs are excellent! You cannot say: "I just listen it for "Sugar mice" or whatever..." Once you've started it, you cannot stop! I really like the subtle emotional & atmospheric sound, often being ethereal. The modern keyboards are often smooth, in the background, while the delightful and refined guitars often consist in clean & short notes, like on the "Blind curve" track on the "Misplaced childhood" album. There are many excellent, melodic and very catchy guitar solos. On this record, you have the impression that no instrument wants to steal the show; it gives a very well balanced album. It is the most relaxing album of the Marillion-Fish era. It is also the best one. The short songs formula really works on this record. The guys expressed well what they felt in the bars during the tour; the lyrics are sad, but the music is very well made and addictive.

EXTREMELY RECOMMENDED!

Ironically, when this album first came out, I bought it, played it a few times, then put it to one side. I was not very impressed at all. I thought it was too aggressive, tuneless, and disappointing in general. Even weaker than 'Fugazi' I thought, certainly not up to 'Script's' standard, or even 'Misplaced'. Eventually, I swapped it for something else. This year, I was at a friend's house, and we were swapping music. I asked him could I tape 'Clutching' again and I would give it another listen. Now I say 'wow!' I think it is amazing! (Funny how tastes change, isn't it?) I would rate it, along with 'Script', as one of their top two albums, with 'Misplaced' in third place. Fish's voice is in fine form. Every track is top notch. The first three in particular making one's jaw drop. My least fave track would have to be 'White Russian', but that is only in comparison with the others - there are no weak tracks here! Despite what some reviewers think, there is still a strong Genesis influence. Although the songs are not typical of Genesis, again the keyboards and Fish's voice are very reminiscent of them. Put it this way, I could imagine Peter Gabriel and Tony Banks slipping into the band quietly, replacing Fish and Mark Kelly, and not many people would notice. Of course, that is where, as always, the only similarities lie. A pity the band never reached these heights again. Hogarth is excellent in his own way. I saw him with the band a few years ago, and he has a powerful live voice. But the music these days is too radio friendly, Although 'Afraid Of Sunlight' and 'Anoraknophobia' are the best of the Hogarth era. Although they have only done, in my opinion, one really weak album - the tuneless and aimless let down that was 'Brave'!

Undoubtedly, this is one the albums I enjoy listening to the most for very evidential reasons: the emotiveness of the lyrics is simply perceivable everywhere, this particular album has got that particular air of experimentation that works perfectly for me and the last but not least important reason, the songwriting by FISH. It is superb, entirely amazing.

From the very front cover of the record to the last song performed in here, you can perceive a sensation of sorrow, of darkness and that irremediable impact of confusion the album's got for you. I appreciate this album a lot because it showed me that dark, secret side FISH had been hiding away from himself and that happened to reveal in such unexpected way in "Clutching at Straws".

Most of the songs written and composed for "Clutching at Straws" are intended to be breathed and lived intensively by the listener, and the album achieves that important commitment: it drives you through your inner fears, your captivated feelings and brings out the sensitivity locked away in you. I can tell it is an extremely emotional album, and that you can figure out at the time you listen to beautiful pieces as "Sugar Mice" (my all time MARILLION favorite ballad), "Warm Wet Circles" and "That Time of the Night". The rest of the songs are amazing too, they certainly have got a threatening "GENESIS - like" essence perfectly resembled and evoked in songs like "Hotel Hobbies" and "Slainte Mhath".

To be concise at this point, I need, I urge to express that "Clutching at Straws" contains a very especial formula reinvented by Derek DICK that despite of the public response and the critics, worked out pretty well. That formula was pursued by the songwriter from Edinburgh three years later in "Vigil in a Wilderness of Mirrors", his first solo career album. This is the living proof of a reborn MARILLION that explored new trends and that at that time had a peculiar way to experiment inside the music business without relying on the most recurred music style to sell out their records persuasively (Pop) at the moment "Clutching at Straws" was released. Great album, it could've used some "Punch and Judy" to achieve my whole Five Stars rating, but certainly a great piece of work. Recommended for helplessly faithful MARILLION fans.

A single Fish?

Fish's final album with the band was for me a bit of a disappointment. With expectations high after the excellent "Misplaced Childhood" (MC) the hope was that "Clutching at straws" would find the band continuing to develop their own sound, while exploring new and more complex avenues. Instead, what we get is essentially an album of disconnected songs (even if there is a "concept") with basic structures, and more than a nod towards the singles charts.

With the unexpected success of "Lavender" and Kayleigh" from MC, is was perhaps understandable that the band should try to emulate this, but with "Clutching at straws" it seems to be done at the expense of anything remotely progressive. The overriding influence on the material is Fish's personal problems, with lines such as "So if you want my address, it's number 1 at the end of the bar" finding his heart openly on his sleeve. The problem with such themes is that the public (and indeed private) message becomes more important than the music (see Phil Collins!). That appears to be what has happened here.

There are of course good pieces of music, "White Russian" while somewhat wordy is excellent. "Incommunicado" is a good pop single, which did reasonably well chart wise, and "Sugar mice" manages to combine the painfully personal message with a half decent tune. It is ironic that the final track, "The last straw" pleads that "Everything is still the same", while Fish unknowingly(or not?) at the time, bids farewell to the band.

A passable but disappointing album, which made it all too clear that something did indeed have to change, and of course significant change was just around the corner.

I find it TOUGH to review this album as I had had some emotional bound with the band on their early albums. It's tough man .. I tell you . tough! Why? Because this album was the first time I sensed that the band would defunct especially when I heard Fish sings "Many of times I've been thinking about changing my way .." in "Just for the Record" track. You bet! Actually, Fish sung this to represent the character of Torch featured in this album as a writer who loves and addicted to alcohol. But for me, it was too personal because the first time I received this LP from Roy, my friend in Dodrecht, Holland I got nothing about the story of this album. I knew nothing about Torch because I was not aware of internet at that time. Since I knew the band from "Script" album, I kept hoping to have next albums of the band and worrying on how long the band would survive. Every time they release an album, I felt "relieved" knowing that they're alive.

FINALLY, HE LEFT THE BAND . "Clutching At Straws" was the last Marillion studio album to feature Fish on vocals. Fish declared that 'Clutching At Straws was my self-penned obituary' in a post split interview (Gone Fishing - Kerrang! 1989). In 1987, an interviewer asked 'Have you ever had your fortune told?' Fish replies, 'Yes, quite a few times. One bloke a few years back got it all spot on. He said I would have three careers and I've had two of them already with the forestry and then with Marillion and he said I would marry at twenty nine which is right as well. The third career is supposed to start in 18 months time but I've no idea what it will be. Maybe serious acting or writing a novel.' Almost exactly 18 months later, Fish left the band. Planned? Well, in all likelihood, it was purely coincidental, but it is true to say that so much information was flying about in the press, much of it contradictory, that the Marillion fans are unlikely to ever know the true story of the split.

THE COVER The cover for Clutching At Straws was another Mark Wilkinson work. Unlike the other studio albums, Clutching is not a gatefold. The logo has been changed though it still retains the essential curves of the old logo. The pictures are both photos of the interior of the Baker's Arms pub, with famous characters painted into the scene by Wilkinson. All of them had serious problems with substance abuse, many of them citing it as either an aid to their creativity or a crutch to protect themselves from the surreal nature of fame. The people are: front cover, left to right along bar: Robert 'Rabbie' Burns, Dylan Thomas, Truman Capote and Lenny Bruce. Some brief details: Robert Burns (Scottish national poet) died aged 37 of alcohol poisoning, Dylan Thomas (Welsh poet, died at 39) also died of alcohol poisoning. Truman Capote, author of 'Breakfast at Tiffany's' and 'In Cold Blood' died aged 59, of a combination of alcohol, drugs and pills (probably suicide) and social satirist and comedian Lenny Bruce died of a heroin overdose aged 40. On the back from left to right: John Lennon, James Dean and Jack Kerouac

THE TRACKS

The opening track "Hotel Hobbies" is very uplifting, dynamic and full of energy. I keep playing this track loudly when I listen to it. It's so rocking! I like the bass line by Trewavas as well as lead guitar by Rothery. Fantastic! Fish commented: "This song is about being on tour and it's really late at night and you're bored, and you hear all these girls wandering down the corridors and you peer through the spyhole in the door to see what's going on!" It flows seamlessly with smooth transition to "Warm Wet Circle" which talks about small, hometown stuff; the dangers of getting trapped in the 9.00 to 5.00 syndrome and then going down to the pub and talking about things you'll never really do. It's a very nice track opened with soft guitar fills. It has a great tagline melody throughout the song with high and low points. The piece that I really love is when Fish screams "She nervously undressed on the dancing beam of a Fydra Lighthouse ...giving it all the way .. showing no shame" Uuuuuggghhh . what a wonderful pitch!

The 2nd track flows seamlessly to 3rd track "That Time of the Night" with a punchy clavinet sound that makes this track bit poppy but still nice. The beginning of this track is mellow and it has high point with Fish voice. Later I realized that this song was written when Fish was in his hotel room and thinking about resigning from the band. What a sad song.

"Just for the Record" is a keyboard-based song with an upbeat tempo and high energy. Opened with a piano / keyboard solo, followed by energetic drumming and vocal who enter at the same time. The music and vocal line flow nicely with great keyboard interlude. This is quite different to the stuff before, it's a real contrast. This is about being in a happy mood and knocking drinks back in the bar and going "I can stop any day, it's noooo problem! I havnee got a drink problem!" and in actual fact you've got a severe drink problem!

The next track "White Russian" really blew me. It has a thematic intro with great musical tunes and vocal line "Where do we go from here?". Oh man .. the first time I heard this song I had a mixture of feelings. First, it's a sad feeling that seemed the band (Fish) was questioning about the future direction of the band. Second, a feeling of admiration as the musical composition is really beautiful and makes me cry admiring its beauty. The music has countless segments with nice melody. For example, the part where Fish sings "Racing the clouds home .." WOW! What a nice melody, my friend ..!!!!!! And .. it's not the end. Observe the melody when the lyric is "We place our faith in human rights ..." another nice punch! (According to Fish, this is a heavy, soul- searching song that touches on politics and deals with the Jewish problem in Austria.)

"Incommunicado" is an uplifting track with an upbeat tempo and punchy keyboard solo. It rocks! It's a sort of macho-gung-ho approach! Torch really wants to be famous but he doesn't want the responsibilities that go with fame. "Torch song" and "Slàinte Mhath" are continuous song that should be listened to as a one unity. Torch is smoking and drinking and coughing and you can hear this 'Dr. Finlay' character going 'If you maintain this lifestyle' you won't reach 30.' Actually, the coughing noises are for real. At first spin, I didn't like these two but the more I spin, it grew. Especially when I watch "Live from Lorelei" video where "Slàinte Mhath" was the opening track.

If you like "Chelsea Monday" of the Script album, you will definitely love "Sugar mice". It's a nice mellow track. The concluding track, "The last straw" is really fantastic! Torch has gone so far down that the only way he can go now is up! He starts writing again, and drinking again, and there's a line that goes 'Just when you thought it was safe to go back in the water' - which is a good cue for a drink! The music has a very strong melody and tight structure with various tempo. It represents the true character of Torch who is willing to come back as a writer.

Highly recommended album. I suggest you buy the 2-CD version as it has many previously unreleased tracks. I like "Beaujolais day" even though the sonic quality is not good. In my view, Marillion has NEVER produced album as brilliant as Fish era. Yes, they're alive but they lost "the soul" of Marillion music. The first four studio albums are all WORTH to own. I rate all of them 5/5. - Gatot Widayanto, Indonesia.

After this album, there wasn`t a real reason to keep Fish as a member in Marillion. This album has the most personal lyrics that Fish wrote for them, and because he wanted more and more to be himself, his lifestyle really caused problems with the rest of the members of the band. The "concept" of this album is about a "tormented artist" who is having problems with substances and who is in a personal crisis about what he is going to do in the future. In the case of Fish, as he explained in Marillion`s official website, in the "Bios" section, he was tired of touring, he wanted to have a more "quiet" life, he had some problems with substance abuse, and he wanted to spend more time with his new wife, as he didn`t want to spoil his love relationship as he did in the past because he was so concentrated in his musical career. Also, he started to have some political ideas, and his ideas were not shared by the band. So, in my opinion, this album is Fish`s statement about changes in his life that he needed at the time and that he did when he left the band. They still toured for this album, but there were a lot of problems in the band as Fish wanted to change the manager of the band, too, against the wishes of the rest of the members of the band. So, this is a "dark" album, but with very good "atmospheres" by Rothery and Kelly, and some very good songs. My favourite songs from this album are:"Incommunicado", "Sugar Mice", "White Russian", "Torch Song" and "Going Under" (this last song wasn`t released in the L.P., but it was included as a bonus track in the CD). After this album and the tour for this album, they started to compose some new music, with Fish still in the band and writing lyrics. But it didn`t work, and Fish left the band. The music of some of these songs with Fish was used for the new songs for the "Seasons End" album. Fish also used his lyrics for these songs for his new songs for his first solo album, which was released in 1990.

Marillion - Clutching at Straws

In 1987 the grand finale of Marillion's Fish-era was released, "Clutching at Straws". Just like the previous three albums, this album seemed to be yet another chapter in the biography of Fish's life. Whereas he previously wrote lyrics about the loss of (some of his) friends and (his) childhood, this album is not any more uplifting, most of it deals with addictions to both alcohol as well as drugs. I always personally had the strong feeling that all four albums Marillion released with Fish onboard were one conceptual piece of art, ranging from his childhood to his adulthood and various problems he encountered on the way towards adulthood.

"Clutching at Straws" is maybe not the most original album from Marillion's Fish-era, but I still find myself playing it far more often than any of the other three albums that preceded it. Perhaps the fact that most of the music and lyrics are lesser mystical and abstract than on the previous albums, makes the album more accessible for repeated listens. About half of the album is not even that progressive at all, mainly straightforward rock music, instead of Prog. But don't let that fool you: the album opens with an epic suite lasting for exactly fourteen minutes spanned over three songs. This suite features one of my favourite tracks of Marillion: Warm wet Circles. An easily accessible song -also released as a single, I guess because of that very reason- which is divided into two parts. The first half of the song has quite a friendly atmosphere, whereas the part that follows is fairly heavy, both musically as well as emotionally seen.

What's also a personally highlight is the intermezzo that is Going under. This barely three minutes long acoustic piece is all about madness. And madness it is. You can't escape it, it's simply everywhere in this song. The track has a very depressing mood to it, mainly created by Fish's sombre singing of his sad lyrics and the repetitive guitar lick. The sliding synthesizer waves are not making things any happier too. This song is also available as an 'extended mix' on the two disc remaster edition of this album. I personally prefer that version, because it has an electric guitar solo added to the mix, that's the extended part; the track is not longer.

The last noticeable highlight is a Marillion classic: Sugar Mice. I guess these are the saddest lyrics Fish has written. The feelings of sorrow and plain sadness are everywhere. Looking at the lyrics from a weird perspective one could see this song as a public excuse to everyone that Fish think he'd hurt during his life at that point.

The other tracks that I didn't mention would get an average three stars per song, mainly because they're all good compositions with good musicianship, but they're lacking just that little extra to call it a great song.

A worthy ending for a worthy artist. actually. maybe the past years have only been an introduction to Fish, his solo stuff is sometimes better than what he did while he was a member of Marillion.

This is Chapter Three of MY BIGGEST PROGROCK DISILLUSIONS. I'm a Marillion freak from the very beginning, we used to play "Grendel" until we were drunk or fell asleep! Their first album was wonderful Genesis-inspired prog and their second put them on the map as a pivotal neo-progressive rock band, it's also their most mature and original record. The third album is 50-50, half is good, half is boring, it was an omen to the next LP "Clutching at straws". When I bought this record and listened to it, I realised that it was over with Marillion because Fish had disturbed the balance, he had become too dominant and was too busy with his alcohol problem. On this album I could find only a few moments that delightened me but in fact I had to admit that the wonderful period of following the early Marillion had come to an end and that was very painfull... and still hurts because early Marillion and Fish are my heroes!

By far my favorite Marillion album. Featuring gritty lyrics, gritty vocals, superb guitar work, catchy songs, and aggression and spite, this is the culmination of all the bad things that had been happening to Marillion at the time. This would be Fish's last studio effort with Marillion, but he left with a bang. From the opening of Hotel Hobbies to the closing duet of The Final Straw, the extremely personal and moody lyrics fit seamlessly with the brilliant guitar work from Rothery (in my opinion, his best), from his quiet Hackett-esque clean sections to his emotional solo sections. Ian Mosley and Pete Trewavas create cohesive and well rehearsed rhytms and Mark Kelly creates moody enviornments to accentuate Rothery's guitars.

The opener, Hotel Hobbies, begins the saga of Fish's struggle with alcohol (as does this entire album). It features a great solo from Rothery in the middle, a great chorus, and some great rhythm work from Mosley and Trewavas. It flows seamlessly into Warm Wet Circles, which begins with some great modulated guitar work from Rothery, and soon becomes one of the most personal songs of the albums. It features a catchy chorus and a great bass performance from Trewavas. Other songs worth mentioning are Incommunicado, which has a very catchy chorus, and a very upbeat riff that fits well with the mood of the song. Sugar Mice is an emotional tune that features some fo Fish's best vocals on the album. And the finale, The Last Straw, features a great duet outro between Fish and a female vocalist. On the Bonus disk of the remaster release, most of the songs are demos of the Clutching at Straws album, but the songs that aren't on Clutching at Straws are superb, especially Tux On. This single features a very catchy chorus, and some great guitar from Rothery.

Overall, Marillion's final album with Fish is a masterpiece of music to me. It's all a superb experience that I recommend that everyone check out. 5/5.

A fairly dull album that is only briefly livened up by Incommunicado featuring Mark Kellys bullet like synth playing.At least Misplaced Childhood had some point as a 'pop prog' album.This is sub Pink Floyd stuff that leaves behind the Pre -Grabiel Genesis era pretensions and replaces it with deadly serious social commentary.One big yawn.

I can still remember the scene. I was watching Top of the Pops back in 1987 ... and was eagerly waiting to see who had come up with the highest new entry. Suddenly there it was at number 6 ... and Marillion appeared "live". I'll never forget the sight of the swaggering Fish (in a white suit, I believe) defiantly tearing his way through Incommunicado. Trewewas' propulsive bass and Mark Kelly's whirlwind keyboards also made a big impression, but it was Fish who ultimately reigned over that song.

I was too young at the time to appreciate all the hints that Clutching At Straws was to be Fish's farewell album, nor indeed would I have been able to predict what sort of impact that would have on my own enjoyment of the group's music. In hindsight I can see that was a clear move towards shorter songs with a more commercial edge. Despite that potentially damming verdict it was not as if Marillion were "selling out" on any level ... at least not when I assess the credibility of the individual tracks, which on average surpass the material on the infinitely more "progressive" Fugazi.

Aside from the strident defiant Incommunicado ("sometimes it feels like I've been here before!"), this album is a parade of exciting melodies and cynical lyrics, some of them unforgettable. Warm Wet Circles is gently seductive, Going Under is joyously in-your-face and contains some great playing from the underused synth-meister player Mark Kelly (although I'll be damned if I don't hear a hint of Men At Work and The Police's flirtation with reggae!) The anthemic feel of Slainthe Mhath and the glorious final ballad Sugar Mice (anybody else feel a lump in their throat at the thought of "sugar mice in the rain"? are other gems that stick out.

Still, I do have complaints ... and I can well imagine that anyone coming to this album expect challenging progressive music will do as well ... for Clutching At Straws is at best a prog-tinged pop/rock album. By this time I arrived at this album I was already sick of Steve Rothery's soloing style and the commercial sheen can be a little off-putting ... check out the sessionist backing vocals on That Time Of Night (although admittedly it works best on the outro of The Last Straw ... "we're still drowning, clutching at straws" is powerful stuff.

In a way, Clutching At Straws feels to live up to Misplaced Childhood, and certainly can't compete with the best of Marillion's prog (Grendel, Script For A Jester's Tear, Forgotten Sons, Blind Curve, etc), yet is a bordeline classic if you are accepting of the neo-prog style of music. Still I can't help listening to this with a tinge of regret (and not just about my lost youth!) ... I'm one of those who feels that Marillion have never truly recovered from Fish's depature. And in a sense, the game really was over. ... 60% on the MPV scale

Clutching At Straws marks the end of an era as this was the final farewell from Fish to the fans, although he would return with a solo carrier. The biggest difference I find from this album to their previous 3 is that its much more streamlined, there's no 8 minute theatrical blasts like you got before. So, is this a good or bad thing, well yes and no. This is quite clearly the most polished production from Marillion in the Fish era but it lacks that edge that made the previous 3 albums true greats.

The big thing that you notice is that Fish's lyrics now seem to be entirely about his alcohol abuse, something that he has covered before in the earlier works of the band. The only break in this is the two songs White Russian and Incommunicado. Incommunicado is clearly about the excesses of stardom but to be honest I'm still trying to work out whether White Russian is an anti cold war song or a metaphor for something else (neither would surprise me).

Fish's preoccupation with alcoholism seems to take its toll on the quality of this album as the whole thing starts to just drown in the theme. This also seems to be the reason that the format of the album has changed from the Script..../ Fugazi style to this series of shorter songs. In my opinion this slightly reduces the effect of Fish's natural theatrical style that comes across in his vocal/lyrics so well, but not by a huge amount.

Let me make myself clear though, this is not a terrible album. In fact, the strength of the music put out by Ian Mosely, Mark Kelly, Steve Rothery and Pete Trawaves is stunning and probably some of the best that these guys have ever done. That Time Of The Night (The Short Straw), White Russian, Incommunicado, Sugar Mice and The Last Straw stick in the mind particularly well, and Fish's lyrics on these songs are some of his best, showing that his work here is not all bad.

There is only two tracks on this entire album that I can honestly say that I don't like. Torch Song and Slainte Mhath get completely lost in Fish preoccupation with alcoholism. The remaining songs all seem to lack lyrical strength mainly but good music goes pretty much throughout the album.

I'll give this album 4 stars but it clearly is the weakest of the 4 Fish era albums due to the previously cited problems and the fact that it also lacks the immediacy of previous albums.

A delightfully depressing finale to Fish's involvement with the band. "Clutching at Straws" is almost as good as its predecessor, with the band playing its most together yet. Rothery's solos stand out above his previous work while Fish is probably at his best as well, gaining full control of his voice's range and using it to sow dark, brooding passages as well as soaring crescendos.

However, there are certainly a few weak points in the albums song-writing. "Just of the Record", "Incommunicado" and "White Russian" do seem out of place when sandwiched between the dark sounds of "Going Under" and "Torch Song". However, the power of "Warm Wet Circles", "Sugar Mice" and "The Last Straw" redeem the minor slips in time to complete the album on a high (depressing) note.

Songwriting: 3 Instrumental Performances: 4 Lyrics/Vocals: 4 Style/Emotion/Replay: 4

The last studio album with Fish. Although it appeared as a shock for lots of Marillion fans, the mood was apparently very difficult during the recordings of "Clutching".

It will follow the same tendancy as "Misplaced" and propose several more pop-oriented songs like "Warm Wet Circles" (a bit Genesis-Collins oriented but not too bad) and "Sugar Mice" which has a very pleasant melody and the so typical guitar sound from Steve in the background. Some bombastic moments as well (especially the guitar, again). A commercial number but very catchy (which is the essence of a commercial track of course).

This album opens brilliantly with "Hotel Hobbies". A subtle piece of music, more in the style of their earlier days. But several tracks will be of that vein on this work and this is probably why I love it so much. After a few sentencesin "That Time of the Night" we' ll get a great spacey section. I think it is the most Floydian Marillion song in this intro. After this, the track will evolve into another great and pure Marillion song : fully emotional thanks to Fish's interpretation. Very light for most of the times, this song will also have its harder moments (but nothing as on "Fugazzi" of course). The first highlight.

"Going Under" is a short and spacey track again. A bit monotonous. We are fully brought into Genesis repertoire with "Just For the Record". Not as bad as when they were three, although it is definitely linked with this period of their career. I do not remember for which song I made this comment but you have to imagine Gabriel singing a song from the Collins era. Although it might sound pretty weird, I must say that a great keys break is helping this song a lot to remain on the good track. Again, a short number; the third one so far.

With the next song, Marillion will produce one of their most lyrical one. Extremely violent attack of all sorts of dictatorial regimes as well as terrorist acts (but who can blame them)? Although Fish mentioned in his intro for "Forgotten Sons" in the live DVD "Recital For The Script" that it was not meant to be a political song, this one confirms though that Marillion is also involved to denounce all the attacks to the human liberties, which can only be praised of course.

Some lyrics here :

"Terror in Rue de St. Denis, murder on the periphery", referring to the bomb attacks in Paris at that time. "My ideals, my sanity, they seem to be deserting me, But to stand up and fight I know we have six million reasons" referring of course to the Holocaust. We'll get it confirmed a little later : "The heralds of the holocaust uzis on a street corner, The silence never louder than now, how quickly we forgot our vows, This resurrection we can't allow, uzis on a street corner". Meaning that we should never forget what happended and fight against all the attempts of limiting the human rights.

And finally "You can shut your eyes, you can hide it away it's gonna come back another day". Let's meditate about this. But never forget !

"Incomunicado" is the hardest number of this album, and will often be the closing number of their concerts at that time. Not my fave but still a very strong number. This album is bloody good. Not a weak track so far.

"Torch Song" and "Slainte Mhath" will keep on the very good level. The later being a very powerful song with a great Fish again on the vocals. He has definitely a style of his own even if of course the Gabriel shadow is never far away. Saying the contrary is IMO denying the truth.

The closing number "The Last Straw" is as good as "The Short Straw (the other name for "That Time Of The Night"). The loop is looped.

What is again extraordinary with the remastered edition is that as usual we'll get a superb bookelt with lots of interesting information : from the sleeve artwork to the atmosphere of the recordings and finally the Fish saga that will lead to his sacking from the band. He will explain, without anger (but these liner notes dated from 1999) how the band reached this situation.

They had toured extensively for the "Misplaced" album with all the subsequent abuses of a long tour far away from home.

Dixit Fish : "We played some shows with Queen which not only retarded my rehabilitation but the close contact with Freddie and the boys even taught me some new methods of debauchery" ! Later on : "I remember one night after having wasted in the night club next door, eating a full meal provided by a very stoned Moroccan chef at midnight jumping in the river fully clothed and cutting my feet ragged on broken glass on the river bed, ingesting enough illicit substances to floor a large mammal and indulging in a full water battle in the bedrooms" !

It sounds pretty similar to what happended during the recording sessions of "Mislplaced" : sex, drugs, drinks and rock'n'roll...

We will also learn the genesis of several tracks of the album "Sugar Mice", "Incommunicado", "White Russian" and "That Time of the Night". Fish was also pretty much PO against their manager. He was asked to postpone his wedding to allow some promotional activities in the US. While ha was there with his girlfriend, he was told that the campaign had been cancelled...

Fish really wanted to change from manager and when he sent an ultimatum to the band to accept his conditions (including the changing of management) the other four preferred Fish to leave. It was the end of a wonderful story. Fish believed that : "A stronger management would not have allowed this self-destruction". What a mess, indeed !!!

this is over History, but most important : the bonus CD is really excellent. On par with the one of their debut album.

There will be some alternate versions of existing tracks : "Incommunicado" rawer and harder than the original, really good. An "extended" version for "Going Under". It is indeed extended by ...one second in comparison with the original number. I guess this highlights Marillion's sense of humour...

Same applies to "White Russians" (instead of Russian...) which is stripped in comparison with the original and "Sugar Mice" which will will be "In The Rain" for this remix.

But there will be several unrealeased numbers as well. And not fillers, believe me. This sufficiently proves the creativity of the band in those days. Great work indeed. "Tux On" which will be featured as a B-side but which is really good. A passionate track with a great beat and a fantastic guitar break. Good work Mr. steve.

The best of these unreleased track is definitely "Beaujolais Day". A very emotional one (once more). It starts like this : "I went to Morisson's grave at Pere Lachaise cemetery, The stony flowers and the matching graffiti were guiding me, To the steps inside of me". It also highlight Fish's tendancy towards some wonderful beverages (in this case the Beaujolias wine).

"Story From a Thin Wall" is of the same caliber. These are two from the best numbers of both CD's. Of course they are less commercial, and maybe more reviewers would have thought differently if those two numbers would have been released on the original album. I really wonder why they didn't actually. Exceptionally interesting, and again I 'm very thankful to Marillion for their excelllent work on these remasterings.

But the second CD only goes on and on with good numbers. "Sunset Hill" is a wonderful and melodious song. Full of sweetness and lightness. "Tic Tac Toe" is probably not on par with the previous nones, but again it could have sit on the original album without lowering its quality.

The wonderful guitar intro of "Voice In The Crowd" is another great moment, although the sound here clearly indicates that it is only a demo. What a pity !

"Exile on Princes Street" is another of these great songs. At this time of reviewing, I reasonably believe that Marillion had almost enough material to have released a double album. I was able to purchase this repackaged release for the price of one CD (around 13 ? at that time). At this price, it is really a bargain and I can not say anything else than to buy it in this double CD format to get as much Marillion songs as you can from the Fish era, which is by far my preferred one. No doubt about this.

Fours stars for this very album. Thank yo very, very much Mr. Derek William Dick.

Of the first four MARILLION studio albums I would rank this behind only "Misplaced Childhood".This is like an autobiography about Fish's life really. Although it's supposed to be a concept record about a man called Torch and his addictions, and how he deals with fame.This is naturally then a dark album including the album cover that I have never liked. The front and back covers include Fish as well as some famous dead people, some who had addictions and died as a result of them. You could say that at this point in time Fish was looking for a way to leave MARILLION. He seemed to be escaping from reality through substance abuse and MARILLION was another part of his life he would leave behind soon after this release. All the songs blend together just like "Misplaced Childhood". I find this record to be not only dark but sad as well.

"Hotel Hobbies" starts off so quietly with reserved vocals until it explodes with some outstanding guitar solos. "Warm Wet Circles" is a great ballad-like tune with some good piano. Some soaring guitar after 3 minutes. "That Time Of The Night" (the short straw)" sounds fantastic when the keys come in. I like the tone of Fish's vocals as well as the guitar melodies. "Going Under" features synths and reserved vocals. I like it a lot.

"Just for the Record" is an ok synth laden, uptempo tune. It's the lyrics that are outstanding. "White Russian" has some great guitar and lyrics. "Incommunicado" was originally a jam song that the band would play for fun after a night out on the town. It became the big single off of the album. "Torch Song" has some monologue and I like the lyrics..."Burn a little brighter now". "Slainte Mhath" really reminds me of the eighties, and apparently the song title is like saying "cheers" in Scotland. "Sugar Mice" sort of plays out like "Hotel Hobbies" starting out quietly before becoming intense. Meaningful lyrics as well. "The Last Straw" / "Happy Ending" has the line "clutching at straws" in it and I love the aggressive guitar late in the song. Rothery is all over this record.

So there you have it ! A sad album in more ways than one. Fish's last words with MARILLION. Infamous last words.

CaS was a spring album for me (I bought Script in August, Fugazi in October, Childhood in January and Clutching – in March), but in the time of buying (and some further months) I was set to the deepest “winter” depression. My favourite band has betrayed me. God-like Fish and the company of his guys gave up writing epics and singing about jesters and broken hearts; instead of it we have almost Pop-album with only one worthy track (“White Russian”). I was shocked to know that CaS can be someone’s favourite MARILLION record. I almost cursed the day when I bought it. I utterly despised everything connected with it – lamey concept (I don’t use any alcohol, so I just can’t get the point wholly), cheesy sound, predictable melodies, tired performance…OK, three good songs after all (“White Russian”, “The Last Straw”, “Sugar Mice”). And gosh, they could have done these three opening songs as a 14-min long track…And boy, how many good songs were left aside! “Story from the Thin Wall” (later to become “Berlin”, my fave H-era song), “Beaujolais Day”, “Tux On”, “Voice from the Crowd”…Thank God, there are 6 nice songs here to enjoy (“White Russian”, “The Last Straw”, “Sugar Mice”, “The Short Straw” (14-min opener – 3 in 1), “Incommunicado” (excellent video!), “Slainte Mhath”), otherwise I’d already thrown it away…

And then I chanced to see FISH’s set on Loreley festival. He played CaS almost entirely (truly weak tracks were left aside – like “Just for the Record”, “Torch Song” and ”Going Under”), and he was telling the story of every song, he ushered us through them …and suddenly I just FELT it. I didn’t understand/like/get it, I FELT it. I felt how it is to be left alone, to be forgotten, to be misplaced…This 2 hours of live performance did what 3.5 years of home listening couldn’t managed: I liked CaS wholeheartedly. I still see the lacks and flaws of the album, but it’s no more “most hated” from Fish-era, it is already “least adored” :) And this is something. I believe I’m to explore this album further, and for now it costs 3.5 stars for me (it’s doubtful, that it will ever overtake first three, so let’s leave this rating) – not bad at all! Highly recommended!!!

Mmmm

it's always great in life when somehting you don't expect much of delivers. I had given up of the Big M after the dross that was Misplaced Talent. Then along comes a dark sombre and gritty album. Gorgeous.

If you listen to this album (and follow the lifestyle) you won't reach 40. Well it's part of the heritage. And it is!!! This prog album brings the genre delicately into the world of the self-critical and self conscious under-achiever. Maybe there's a a little bit of that in everyone.

Once again we realise that DD Fish is a real wordsmith.

This LP (and that's all I know: no discs or extra discs) is an absolute must in the prog collection because it touches and confronts the dark side. Not a common thread in prog (but then I'm no expert).

PS Tux On is just fabulous (based on the 12")

Welcome to 'Misplaced Childhood II'.

With the same song structures, the same album structure, the same balance of instruments, but without the same power or integrity, 'Clutching At Straws' is surely an ironic title. As did 'Lavender' in 'Misplaced Childhood', so 'Warm Wet Circles' lends its theme to the album. 'Clutching At Straws', like its predecessor, is supposed to be listened to as a whole.

As long as it's done well, I don't mind an encore album. This, however, is not that well done. It is very difficult to follow success, much more difficult than to follow failure, but a key ingredient is good songwriting. Sadly, there are few tracks here that can hold a candle to 'Misplaced Childhood', apart from the excellent 'Incommunicado'. The band proved later in their career that they are capable of a wide variety of musical statements: it's a pity they chose 'son of Misplaced Childhood' for FISH'S last album with the band.

Supposedly nakedly self-revelatory, the lyrics come across more as self-indulgent. Rather than beomaning his drugged state, FISH seems slyly proud of it. And why is the slick, overdubbed voice (so reminiscent of '80s PHIL COLLINS, ironically) used to express such personal songwriting? Sorry, it doesn't convince me. Perhaps had FISH sung as he did in 'Script' it would have made more sense. Oddly, his growing singing ability makes this album less credible. There's no real emotion here, apart from smugness.

The rest of the cast can sure play. They are very good. The simple fact is the material here is really not worthy of them.

Between two and three stars.

Clutching at Straws was the last Marillion album to be fronted by Fish as he would leave the band in 1988 due to "musical differences." There are quite a few critics that consider Clutching at Straws to be the best of the Fish era. I guess I am in the minority here, as I think of it as the worst of all the Fish-era albums released by Marillion. That's not to say that it's bad, it's a rather good album. It's just not on the same level of musical ability as the first two Marillion albums, Script for a Jester's Tear and Fugazi. Clutching at Straws is less progressive than their earlier efforts and consists chiefly of more song-oriented, radio-friendly material. It's mostly because of this that I cannot assign this album more than three stars. If it were "Rock Archives," four stars would have been more suitable.

In many regards, Clutching at Straws has the feel of a Fish solo album. If you've ever listened to Fish's solo material, you'll understand what I mean by that. Definitely a precursor and foundation for the rest of Fish's career. Recommended for Marillion fans as this album fares better than most Hogarth-era releases. Also recommended for prog fans on the lighter side of AOR-tinged, accessible, song-oriented prog. All others, Marillion's first two albums are the place to start. Three stars. Good, but hardly essential.

''Misplaced childhood'' was the most succesful Marillion album in the 80's,followed by a huge number of shows by the band.In the meantime the everworking quintet of Fish & co.had to write down material for a new album.Influenced by the raw circumstances of fame the band was dealing with,Fish invented lyrics around Torch, a young man deeped into alcohol and hanging out in bars because of his meaningless screwed up life.The new album entitled ''Clutching at straws'' was released by EMI in 1987,again produced by Chris Kimsey.

Musically the album moves a bit away from the previous works' propulsive haunting moments and extreme atmospheres but still following a very dark and often pesimistic mood,for which Marillion were known for.On ''Clutching at straws'' the old Marillion meet with a new style the band was adapting by the time,that is lyrical, soft and atmospheric songs with a hidden intensity and far from the GENESIS' influences they delivered on the first three works, trying to pop out the most out of the band's originality.Tracks like ''Hotel Hobbies'', ''Warm Wet Circles'','' Just for the Record'' and ''White Russian'' are on par with their old style,an alternating smooth dramatic vocal performance often interrupted by flashy synthesizers,mindblowing guitar soloing and a dreamy mood.However most of the new compositions are much based on Fish'es unique performance and alternating chords between theatrical and crying vocal chords,supported by the spacey light keyboards of Mark Kelly,the now more GILMOUR-influenced Rothery guitar parts and the overall deep atmospheric approach of the band.Surprisingly this is still great MARILLION,the newly incorporated elements seem to fit exactly with the band's style and talent,ending up being a great concept album of trully professional rock music with progressive leanings.

Reasonably enough and before becoming himself an alcohol dead victim,Fish left Marillion the next year,tired of being manipulated by the band's management and dissapointed by the rest of the band,which decided to part ways with him than replacing the manager.

If you come across the 1999 24-bit remastered EMI version of the album,you will be lucky enough to listen to the demo recordings of a never recorded fifth Marillion album with Fish,which would mark a return to their early raw roots.Haunting, atmospheric and lyrical Progressive Rock of first class,this would be certainly to be a masterpiece to remember.Fortunately some of them ended up on the next fantastic release of the band.

''Clutching at straws'' is a great album.Not the total masterpiece like ''Script...'' or ''Misplaced childhood'' were,but a fine turn of the band on a more refined, emotional and less symphonic sound,prooving they could definitely establish a style of their own and a brand new window in the Neo Prog stylings.Highly recommended.

The last studio album from Marillion with Fish was Clutching at Straws. This is a really good album even though the tensions between Fish and the rest of the band were building at this point. Fish commitment to Marillion was not as dedicated anymore according to the other members. I read an interview with Mark Kelly where he said that the other members including himself were pissed of at Fish during the recording of Clutching at Straws, as they didn´t feel Fish gave enough. The lyrics to Incommunicado were allegebly finished in a cap on his way to the studio to record the vocals for that song, which seems almost too incredible to be true considering the high level of expression. Well, after the tour for Clutching at Straws Fish left ( got the kick ?) Marillion to pursue a solo career and Marillion would never be the same again. Despite all the internal trouble in the band Marillion managed to make another masterpiece of prog rock with Clutching at Straws IMO.

The compositions have become more intricate and full than on previous albums and there are some really wonderfull songs on the album. The three first songs seque into each other and has a common theme about abuse. This is a fantastic trio of songs which I enjoy every time I listen to Clutching at Straws, what a great opening.

Going Under is not on the original LP, but I am happy that it made it unto the CD version because it is a very good and emotional song, even though it is not the best here.

Just for the Record is another classic song about abuse. It´s about the million different excuses alcoholics use not to put the bottle down. Note the great keyboard play in this song. This is a favorite of mine.

White Russian is a great song too. Great guitar work and some nice cryptic lyrics from Fish.

Incommunicado was the hit from this album, but don´t worry it´s a really great song, and with the aforementioned story about the creation of the lyrics it also has a funny story. Note the great keyboard playing.

Torch Song And Slàinte Mhath are also great songs. Slàinte Mhath were often used on the following tour to start the shows. Great prog rock songs.

Sugar mice is another favorite of mine. Great guitar play and some clever melancholic lyrics from Fish about a lost soul. Social realism as seen by Fish. One of the best Marillion songs ever. Note the beautiful guitar work and the great solo.

The last straw is not a favorite of mine, and it´s too bad Fish era Marillion should end with one of the weakest songs written in that period. Of course as we´re speaking about Fish era Marillion a weak song is not the same as a bad song when we´re talking prog rock in general. The Last Straw is still much better than most other prog rock songs by other bands on the scene. In the context of Marillion this is a weak song though.

Clutching at Straws is a prog rock masterpiece and deserves 5 stars for that even though the last song isn´t as good as the others. It´s a minor flaw though. This is the kind of album I never get tired of and a great studio testimony to Fish era Marillion. I have rated every one of the first four studio albums from Marillion 5 stars, as I think these four albums are some of the greatest albums ever made. Fish era Marillion have moved me in a way very few bands have been able to. Thank you for the wonderful experiences.

Almost so good as Misplaced Childhood, Clutching at Straws is a great Fish's last album with Marillion...

The mood of the album is not so epic as their previous masterpiece, and not so commercial... Of course, there are some accesible songs, like Warm Wet Circles and Sugar Mice, but this album increases the ambiental passages, reducing the number of radio oriented tracks. The style of this environmental passages we can hear in songs like Going Under, is the Marillion's trademark in later album with Steve Howarth, like the masterpiece Brave, wich has the roots in the mellancholic passages from Misplaced Chlidhood, and specially from Clutching at Straws.

In this album the Fish's voice is also not so high pitched like before... He explores new sounds with his vocals, sounding very less strident, similar than in Misplaced, but even more mature. I specially love his singing in That Time of the Night and Sugar Mice... The vocal part after the solo is just incredible, the best Fish's has ever made vocally!

But the album is not so good as Misplaced Childhood anyway... This album was perfect from beginning to end, while Clutching at Straws has a great general quality, but not so outstanding. The very neo- progressive Just for the Record is dynamic, but not really remarkable. And so is the ending The Last Straw, not the best of the album. This tracks are not bad, just a bit under the rest, but they don't allow Clutching being a masterpiece in my humble opinion.

Best Tracks: Warm Wet Circles (perfect guitar intro for a catchy song, with sexy, original and very fishy lyrics...), That Time of the Night (I love the chorus), Incommunicado (pure neo-prog rock track, and a little Marillion's classic...), Slàinte Mhath (the best slow part of the album, with a great Rothery's guitars layers...) and of course, Sugar Mice (the best track of the album... I have goosegumps with the vocal part after the splendid guitar solo)

Conclusion: excellent last Fish's album with Marillion... And a great follow up to the masterpiece Misplaced Childhood. Not so good, but very close. The lyrics (and concept...) of the album is darker, and so is the music, making a marvellous mixture of neo-progressive hymns and touching ambiental passages. So this is a really recommended album for every Marillion, neo-prog or music's fan... And a splendid swampsong for an unforgettable and unrepeatable era: when Marillion's had this original and unique singer called fished, and together helped to creating a new progressive style with four marvellous albums, having Clutching at Straws the second place of the podium after Misplaced Childhood.

My rating: ****1/2

Review 70, Clutching At Straws, Marillion, 1987

StarStarStarStar

From the very promising Script For A Jester's Tear, Marillion seem to have developed a bit for Clutching At Straws (this reviewer doesn't yet have the intervening albums). Though it's still essentially got the same feel to it, the playing from all five members is much stronger than on the debut, and the band cohesion is far tighter. Psychedelic touches appear to have been ironed out and better incorporated, and a couple of guest vocal additions and new styles or influences rear their heads.

The biggest distinction between the albums, other than the general much-better-played, but slightly-less-memorable Clutching At Straws, is the fact that the latter feels sympathetic. There's none of the biting aggression of Chelsea Monday or Garden Party, or even Forgotten Sons, simply this overwhelming depression characterising the album. The lyrics are the main factor behind this, slightly cleverer than those of Script, and extremely well-written, but the musical atmosphere matches it. Solos don't appear to be there for the sake of a solo, but to enhance a point, and the much improved taste in the percussion parts does especially give the sympathetic tone to the album.

The moody Hotel Hobbies opens the album, with good performances all round, atmosphere contributed by Rothery's relatively minimal playing and the extremely strong bass part from Trewavas. Fish shows off a couple of Hammill-like vocal phrasing flourishes and the band as a whole makes an extremely good impression, showing off their solid use of dynamics and Rothery's incredible impact as a soloist. It segues right into the more accessible...

Warm Wet Circles, with more subdued elements, featuring Fish very prominently, as well as a very good performance from Mosley, while the remaining members provide some textures as well as a couple of more controlling leads from Kelly's piano and Rothery's biting guitar. A couple of almost-imperceptible additions from guest vocalist Tessa Niles are more than welcome. Fish is usually excellent, from the early Marillion pieces I've heard, but here he excels himself in both the slightly nervous and yet assertive tones of the album and a powerful 'she nervously undressed in the dancing beams of the Fidra lighthouse'. An extremely good piece, all in all, and the most rewarding of

That Time Of The Night is the first of the album's pieces that are perfectly good, but don't make that much of an impact. Fish's vocals and lyrics are fine, and his 'o-oh' has an interesting rapid vibrato sound, but the band's parts don't really seem much more than adequate to me. Mosley fits in a couple of Peartesque rolls and Rothery adds a couple of extremely nice slippery guitar whirls. Warm Wet Circles is brought back to mind pretty bluntly. Tessa Niles again appears to be featured, though I'm not sure, since the booklet is contradictory. Not bad at all, but not inspirational either.

Going Under is a different sort of piece, with a couple of acoustic guitar rhythms backed by some very neatly handled (especially a flute effect) synths. Fish provides a low key vocal with, again, strong lyrics. A nice idea, and well executed.

Just For The Record is a more rock-focused piece, re-using of one of the rhythms of Garden Party (could be mishearing) a little, and featuring a range of little vocal effects (whether whispers or little harmonies). Mark Kelly's keys and the whirly supported electric guitars work nicely, as does the rhythm section. The general development and inclusion/exclusion choices are quite nicely done, and the dudu-dududu rhythm around 'When you say I got a problem, that's a certainty' is particularly brilliant.

Wuthering wind effects introduce us to the superb White Russian, a schizoid trip through the narrator's mind and thoughts of censorship, with brilliant demi-nonsensical lines and roared lines from Fish, as well as little changes everywhere throughout the song. Mosley gets to rock a bit more than previously, and Trewavas' bass also gets its highlight in the soft middle section. Rothery, a superb guitarist on the rest of the album, especially shows up, with a range of brilliant guitar tones and some truly shrieking solos. The lush choral mellotron makes its appearance, among a range of other keyboard instruments. A glockenspiel or something similar echoes the 'Where do we go from here' melody to end the piece, stopping a note short on the last repeat. A real highlight for me, with all the elements coming together to make a great communal piece.

Incommunicado doesn't work so well for me. Fairly fast playing on all fronts, and matching vocals. Kelly's organs and synths, as well as Rothery's guitars continue a fairly nice set of riffs throughout much of the piece, and Fish's rather more hurried vocals are good, despite the irksome number of 'incommunicado' repeats. The issue, really, is not any of the individual components. I like basically all of the parts, sans a couple of small repeats crammed in, but I just don't enjoy the end result much. Perhaps it's that the rather upbeat feel of the song doesn't really mesh too nicely with the downbeat album, and the fade isn't really welcome in an otherwise very neatly segued or concluded album.

Torch Song is the second of the album's purely slow pieces, with really unstrained vocals from Fish, a fairly successful speech inclusion backed by some little guitar touches. As usual, all the players are solid, and the small background keyboard and guitar touches support the general rhythm. A piano solo fits in quite nicely to segue to...

Slainte Mhath, a piece featuring a Celtic rhythm with complete electric instrumentation and some tentative keyboard-based imitations of a traditional flute, as well as a much more traditional-styled vocal (complete with Scottish accent) from Fish. This is very well crossed with the more strutting and electrifying inclusions, and the general ideas are established before they are combined. A very enjoyable piece, and a welcome addition of diversity.

Sugar Mice is another slow one, with soft rhythm guitar backing Fish's soulful and repentant vocals, and a couple of small background touches pervading it. Rothery gets an opportunity for a fairly standard extended solo, using a couple of tones without overstressing it. A return to the softer theme of the song concludes it nicely, preparing us for the real gem of the album.

The Last Straw is a simply brilliant ending, with well-written lyrics, great vocals from Fish including the savagely tense background calls, a solid multi-instrumental riff or two, soft breaks with swirling synths and superb foreshadowing from Rothery as well as a threatening rhythm section. And suddenly, all the presence built up by Rothery explodes into one soul-wrenching, energy-filled solo, further emphasised by Fish's shouting vocals. An almost-mantric duet from Fish and Tessa Niles with rolling backing from Kelly leads us out to the album's negative, self-perpetuating ending.

So, all in all, a very good bunch with two or three pieces that don't quite make as much impact as the others, but generally very well written, consistently well played, and noticeably (even for me, and I don't often notice production on an album that much) superbly produced. Even if you're not an instant convert to the Marillion/neo-prog fold, I'd still consider the album a good choice, and if you don't enjoy The Last Straw, I don't know what's wrong with you. A deserved four stars.

Rating: Four Stars Favourite Track: The Last Straw

Edit: haven't given this a listen in quite a long time... but, since I'm generally making the ratings a bit lower, I felt that an album with one or two weak points and a noticeable % of lesser but good tracks would probably fall into the new tenure of a 3.

I believe this is one of Marillion's strongest albums, if not their top release to date.

Here we have the band having discovered its own sound an album or two previously, no longer the Genesis clones that they pretended to be in their debut. Instead, we have a band focused on tight melodies and gentler neo-prog music. Lyrically, the album is very dark and rather depressive, focusing on patrons in a bar trying to drink away problems and all that. I heard from a friend once that Marillion are the sort of band that can turn you into a depressed alcoholic just by listening to them. Maybe that's true, but while the lyrics are fairly universally dark, the music does not muddle around the same way. Rather, it provides a light at the end of the tunnel, if you will, and keeps the overall mood from seriously dragging the listener down. Another strength of this album is the way the songs interact and flow: we have an album here that was built together and works together, rather than the mildly disjointed flow of the debut.

The first three tracks are linked together musically, as well as lyrically. They provide a nice flow to pull the listener into the album gently but very effectively. Just for the Record and Incommunicado are probably the two highest energy songs on this record, adding in almost a little bit of fun on this moody release. White Russian, a mild and melancholic tune, sits between the two. The strongest and most interesting song on this album, however, is Sugar Mice, with absolutely perfect guitar work. Marillion is not a band known for throwing their instrumental prowess out there, but this track shows just a hint of what the boys can do as Steve Rothery breaks out his best solo ever. The rest of the tracks are quality but less exciting and less remarkable. On the whole, the album works so well together that it's easy to lose a track here and there in the flow.

This is Fish's last album with the band, and listening to this record makes me sad about that fact. I'm not necessarily in either the Fish or the H camp (a discussion that has divided most Marillion fans), but something in their music declines after this album. If you are interested in Marillion, this is a wonderful album to pick up. It's one of the strongest they wrote, and possibly one of the strongest in the entire neo-prog genre.

Misplaced Childhood II

If the 80s scene of progressive rock were to be depicted in Hollywood movie form the opening scene would probably show a barren wasteland not dissimilar to something out of The Matrix. Some of our favorite prog heroes were still around and making albums from the shadows fused with various influences like New Wave while other bands had been horribly disfigured and mutated by the toxic atmosphere and some of our most gallant heroes were staring at us helplessly and asking with panicked looks on their faces, ''who dunnit!?''. Marillion shook the progressive world back to its senses in those crazy days when they released Script For A Jester's tear and their third album, and best known masterpiece, Misplaced Childhood, an album that managed to score hit songs while maintaining the classic progressive feel with lush synthesizers and lengthy suites. These rebel forces, along with the rest of the Neo Progressive movement helped prog carry through those rough years, even as they fought through the trenches and the onslaught music coming out at the time. Clutching At Straws is a different, yet much similar album from the band, in that it maintains the classic Genesis-like feel combined with the 80s sensibility in rhythm and melody, but this one shows the band deciding to stick to the shorter side of things. While the album is linked throughout with strong thematic motifs it doesn't feel quite as ''together'' as their previous album. This one also tends to be a lot darker and more emotional than its older sibling, as Fish (who would leave after this album) wrote most of the lyrics around himself and his struggle with various addictions. All in all, it's not a very happy record.

Most of the songs run together and make for dynamic sides. Hotel Hobbies opens the album with a bang while Warm Wet Circles slows things down a notch until it's reprised at the end of the rather upbeat Just For The Record, which shows Fish's voice at it's most sympathetic sounding. White Russian is a rather aggressive tune with blasting keyboards and a grumbly voice from Fish as he describes the ''heralds of the holocaust'' and ''uzis on a street corner''. The emotional buildup felt in this song with the combination of lyrics like, ''were do we go from here?'' make this song a particular standout on the album. Side 2 opens up on a rather strange note, especially after ending the last side with such a dark tune. Incommunicado is an upbeat rocker of a tune led by fun synthesizers and a good chorus led by Fish. The rest of the side is very much overshadowed by this song, unfortunately, but it made for a good single, and a very good tune to act as a standout for the album. Other songs of note on the second side include the nicely paced Sugar Mice and the amazing closer which still stands as one of Marillion's most emotional tunes to this day, The Last Straw. Cataclysmic sections from each member highlight Fish's voice as it reaches it's emotional peak. A nice little trick is played at the end of the album as well, since there's the listing for a song called Happy Ending which, in fact, doesn't exist. There is no happy ending to this tale.

After this record both artists (Fish and Marillion) would face their trials and tribulations and, as some would argue, would never be quite as good again without one another. Hogarth era fans of Marillion will argue differently, for sure, but the distinct sound that made this record and the previous 3 that were behind it would be gone. This album is not as fantastic as some of those which lead up to it, but it certainly has some brilliant moments that any fan cannot live without. This one is recommended to those who liked the Fish era of Marillion, or those who really, really don't want to believe that Abacab or Invisible Touch ever existed. 3.5 stars for a good album.

Waiting on the whistle to blow?

Marillion ? Clutching At Straws

Review by ProgKidJoel

Following up Marillion's smash hit "Misplaced Childhood", Clutching at Straws had the undesirable job of following up what was invariably considered a masterpiece. "Clutching At Straws" is possibly the most unique album the band released featuring FISH on vocals, and was also the last spear-headed the charismatic frontman. A concept album, CaS tells the tale of "Torch", a man transformed from a charismatic band frontman/jester into a factory worker in Milwaukee, all thanks to alcoholism. He has become a deadbeat father, a failed singer and is stuck in a failed marriage. Through all this, Torch seeks alcohol to comfort himself. As he sinks into a deep alcoholism, he writes about his surroundings and emotions through a veil of alcohol and regret. Although many herald this album as the death of Marillion, it is clear after a single listen this is far from the truth, and that this album supplied one of the most interesting and heartfelt albums Marillion has released to date.

1. Hotel Hobbies

Opening with an entertaining keyboard riff, this is probably Marillion's slowest opener with FISH on vocals. Somewhat ambient, this track leads into an amusing keyboard riff which carries this track over to its upbeat chorus. Slowly increasing in volume and strength, this track picks up to a typical Ian Mosley drum beat and another great Rothery guitar riff. FISH's vocals also pick up, and the band is in great form towards the end of this track. A couple of rhythm changes lead this song into its impressively short guitar solo, and furthermore into its outro and gapless entry into the next track.

5 out of 5

2. Warm Wet Circles

One of Marillion's best tracks, this features one of Steven Rothery's best ever guitar solos, mixed excellently with FISH's heartfelt lyrics and vocals about small town dreams. The first chorus feels incredibly uplifting, and is one of my favourite Marillion moments. About the dangers of slipping into regrettable alcoholism, this track picks up nicely. Featuring some of the bands best gelling work to date, this song was one of three singles from CaS. Continuing its pretty riff with a piano compliment, this track is amongst the most heartfelt Marillion have ever produced. Amazing vocals and lyrics are what carry this track like so many others from FISH, but the band is in particularly good form on this track. Another excellent trademark Rothery solo hits hard in this track, supplying the perfect bridge. Perhaps the best track on this album, you simply have to hear this.

5 out of 5

3. That time of the Night (The Short Straw)

A fan favourite from this album, The Short Straw is another great track. Beginning in a similarly ambient tone to Hotel Hobbies, the overture is inspiringly dynamic. This track picks up to eventually reveal what is perhaps Mark Kelly's best keyboard riff ever. A heavily 80's track, this does not disappoint. Perhaps a little bit repetitive in the middle section, this finishes to a fantastic outro featuring Tessa Niles' singing with FISH. The best part of this song is easily the chorus; although, its replayablity is somewhat hampered by repetition of its verse. Many people think this is the best track on the album, although it isn't quite as good as some others. Still very interesting, mind you.

4.5 out of 5

4. Going Under

A great guitar riff and soften vocals mark a massive change of pace from The Short Straw's intense ending. Also incredibly ambient, this track is fascinating, and you will hear something new every time you listen to it. An echo effect catches on to FISH's voice, and helps to create interesting dynamics and stereophonics. This song is about slipping into a deeper alcoholism, and marks a worst stage in the life of Torch. Closing quietly, this is another very interesting track.

4.5 out of 5.

5. Just For The Record

Perhaps the most upbeat track on the album, this marks a change in the state of Torch in out story. A much more hopeful track speaks of "Just another gesture with an empty glass. Just another actor, behind a tragic mask". This leads into an impressive synth solo from Mark Kelly, although it doesn't seem to suit the mood of the track very well. Impressive none the less, the bass also provides another dimension to this song. Towards the end, a piano track comes under the rest and provides and epic, heavy handed exit for this song.

4 out of 5.

6. White Russian

What FISH describes as this albums epic will not disappoint; A heavy handed passion play about the rise of neo-nazis in Europe, this features the bands technically best track on this album. Incredibly brutal vocals and lyrics mark another change in the mood of this album; this song also lacks any continuation of Torch's story. Perhaps the most technical guitar solo on this album, a genuinely angry song, FISH really hits the mark with his vocals, particularly in the song's close. Possibly the least accessible track on the album, White Russian is a truly shocking protest song, akin to Forgotten Sons. If you haven't heard this, I highly recommend doing so; its one of the hardest hitting Marillion songs released. An eerie xylophone closure finishes what is one of the strongest tracks on this album/

5 out of 5.

7. Incommunicado

Once again, this sticks out in bleak contrast to White Russian. Heavily 80's, this track is very reminiscent of Collins Era Genesis, complete with heavy drumming and a great keyboard riff. Based on the pitfalls of record companies, this track speaks of desiring fame. Incommunicado was the second single from this album, and also faired the best in the mainstream Market. This song, however entertaining, really related how Marillion felt during the Misplaced Childhood tour; swamped in a media storm. Its easy to see why this single faired the best of the three; it's the easiest to listen to, the most entertaining and it takes it self a hell of a lot less seriously than Warm Wet Circles and Sugar Mice. Another great synth solo from Mark Kelly helps this track stay interesting after multiple listens, adding to the value of this straight-up poprock track. Closing in the same way it opened, you should really here this track. Its film clip is also incredibly amusing, and suits the subject matter more than perfectly.

5 out of 5.

8. Torch Song

This track reverts to Torch's uphill battle with alcoholism, featuring a conversation with a doctor and pure vocals. FISH's trademark wordy lyrics help this track aswell. "Burn A Little Brighter Now", the song's main lyric, is a clever play on words about Torch, and helps this track through a slow rhythm to become incredibly climatic. After Torch's conversation with the doctor, this track picks up its tempo and volume impressively. FISH's vocals really shine here, incredibly reminiscent of FUGAZI's vocal high. Leading into another excellent track, this is also great.

5 out of 5.

9. Slainte Mhath

A Scottish term which literally translates to "Good health", this is often used as a toast by mates down at the pub. Another piano driven track, FISH's vocals shine here if they ever did. The bass is particularly impressive here, working in tandem with slow drums to flesh this track out. One of my favourites, this track is filled with energy when played live, generally doubled in tempo. Another great, albeit short, guitar solo which feeds into this tracks closure, which is nearly as epic as White Russian. Powerful drumming and bass pick up here, leading into FISH's vocal assault.

5 out of 5.

10. Sugar Mice

Easily my personal favourite from this album, Sugar Mice has one of my all time favourite guitar solos combined with heart felt lyrics and an unforgettable lead lyric. Ambient bass comes in again here, and it remains part of the background for a majority of the track. Another fan favourite, this track has been played several times live by Dream Theater (Who tend to suck all the feeling out of it, but that's a story for another time) and never fails to disappoint. Featuring some Genesis lyrics (The waitress, is counting out the time), this is probably the most powerful track on the album. The guitar solo here, although not technically over the top, really shows Steve Rothery in top form, playing his heart out to the last note. Perfectly executed, this is easily the best point in the song, and works perfectly with the rest of the band to flesh the track out nicely. Torch appears to be in trouble in this track again, and this is visible both in the lyrics and video clip. Based on Torch's fatherhood behaviours, this song is incredibly heavy handed. Listen to it.

5 out of 5.

11. The Last Straw: Happy Ending

Ay, theres the rub! An awesome guitar riff and powerful lyrics bring this track to its end. Obviously about the crisis which Torch faces, this end is as fitting as it is epic and truly closes this album with its head held high. Truly about the Last Straw, this track tells the end of Torch, and the end of his battle. Featuring the album name as a final lyric, if there was ever a Marillion track you couldn't miss, this is definitely it. Another bleedin' heart Rothers guitar solo brings this track into its epic close, which is simply classic. Dynamics play a leading role in this track, making it one of the most enigmatic and interesting Marillion ever released. Insanely powerful vocals truly carry this track, and make it a fitting end for a truly epic album. Closing to an insanely powerful vocal duet of FISH and Tessa Niles, you just can't miss this. A much better final track than White Feather on Misplaced Childhood, this track truly deserved to finish this album. Do we get a happy ending? The answer is No, as we hear FISH yell in the very last second on this track, followed by insane laughter. This represents Torch's will to give up the drink, yet repeated failure.

5 out of 5 (Deserves a 6)

Closing comments:

This is a truly sad album; it tells the story of a failing alcoholic through some of Marillion's best songs, and also marked the departure of FISH. Its important, when listening to this album, to treat it as you would any other concept album; that is to say, with careful consideration of the lyrical themes and what you already understand of the concept. Although a heavy concept, you can enjoy this album as you would any other without having to worry about the dismal and sometimes depressing lyrics.

A fitting end for FISH?

Definitely.

A Happy ending?

Definitely not.

Please ? Just buy it!

-Joel

Sometimes you just get a gut feeling about a band's potential and I'm so glad I stuck it out with these guys because the payoff has been massively gratifying. I found their courageous debut to be a bit unsteady and amateurish at times but there was something enticing about it all that made me want to explore them further. The upgrade in the drumming department made "Fugazi" a pleasant surprise but it was the magnificent "Misplaced Childhood" that completely blew me away, thus confirming the honorable esteem they enjoy with the noble citizens of Progland. When I got this, their 4th and last album with the emoting Fish, I was wholly prepared to be underwhelmed. I didn't see how they could possibly equal their previous recording. I was wrong to doubt their ability. I'm happy to say that Marillion hit two grand-slam homers in as many at- bats. "Clutching at Straws" is just as great as "Misplaced Childhood" while steadfastly maintaining its own separate identity.

If there are any of the "old guard" (of which I am a member) reading this that have avoided investing in this group's work because of their frequent comparisons to Genesis I ask you to consider this: Do you think that, in the world of painting, Monet should be considered a plagiarist of Renoir because they were both impressionists? Of course you don't. The same principle applies here. If you love Genesis then you'll adore what Marillion has to offer. Trust me; in their prime these boys were terrific (I have yet to explore their post-Fish offerings). They may have painted with the same colors as their mentors but the resulting landscapes and portraits they created are unique and all their own.

The engaging "Hotel Hobbies" draws you inside their shadow-strewn tavern with Mark Kelly's droning synthesizer laying down a sturdy foundation for Steve Rothery's crisp guitar to flitter overhead briefly before Ian Mosley's drums explode into a charging riot, abruptly altering the song's direction and mood. Rothery delivers a ferocious guitar solo but it's Fish's stringent vocal that pulls it together when all is said and done. It'd be unfair to state that his words reflect some kind of a tired, saloon-as-a-metaphor-for-existence theme because that's overly simplistic and shallow. Fish as a lyricist is one of prog's most intuitive and literate and he doesn't disappoint here as he toys with the implied serendipity of a hotel lounge's "happy hour." He poetically presents the panoply of its patrons as plain folk "jostling for attention/as the sunlight flares/through a curtain's tear/shuffling its beams as if in nervous anticipation of another day."

They segue into "Warm Wet Circles" with its wonderful, melodic progression that carries the perceptive words aloft like a kite in a cool breeze. Fish describes a young lady at the bar with her jealous friends, enraptured in the throes of naïve love. "She faithfully traces his name with quick bitten fingernails/through the tears of condensation that'll cry through the night/as the glancing headlights of the last bus kiss adolescence goodbye..." he sings. Suddenly the atmosphere changes drastically as an engulfing wall of fevered sound crashes down and Fish and Steve pour their souls into their performances, leaving you breathless in their wake. Completing this conjoined trio of songs is "That Time of the Night," a track that starts out like a dream state's soundtrack, then settles into a smart groove as Ian's drums and Pete Trewas' bass fall into a tight rhythm. Fish snidely remarks with conviction that "...if you ask me how do I feel inside/I could honestly tell you/we've been taken on a very long ride/and if my owners let me/have some free time someday/with all good intentions/I would probably run away." The band's scintillatingly smooth accents that slide through during the 2nd part are sublimely transcendent and the enormous scope of the final segment is awesome. Guest vocalist Tessa Niles adds an unexpected dimension to the poignant "warm, wet circles" line that resonates repeatedly like an accusing mantra and the subtle finale is a stroke of pure genius.

"Going Under" is a somber, captivating piece presented sans drums that has a slightly nostalgic "Trick of the Tail"-era aroma surrounding it. They set up a cavernous depth of field while Fish assumes the resigned attitude of a habitual drunk who muses "...can you understand it's the way I choose to be/everything seems so easy this way/but I'm going under fast/slipping away/am I so crazy?..." "Just for the Record" (is that a great title or what?) is a rocker that drives hard in 7/8 time on the verses and straightens out to 4/4 on the choruses. Kelly's keyboards shine throughout but his perky synthesizer lead is outstanding in particular. Here Fish acknowledges his own affinity for alcohol but he tries to convince us that "when you say that I got a problem that's a certainty/but I can put it all right down to eccentricity/it's just for the record, it's just a passing phase/just for the record I can stop any day..." (Yeah, right.)

The edgy "White Russian" adopts a demonic, waltzing-with-Beelzebub motif to accompany Fish's exasperated vocals as he condemns the senseless violence perpetrated by homegrown terrorists brandishing Uzis as if they were cap pistols. "Where do we go from here?..." he solemnly asks. This multifaceted number features striking guitar lines from Steve, a sudden ascent into a lighter space midway through followed by a deep, growling movement and a ghostly, ironic music-box coda. "Incommunicado" is next and it is spectacular. The infectious energy and Mark's bright synth solo is exciting enough but when the bottom falls out on the bridge it's this progger's wet dream come true. I kid you not. It's a river of sunshine. Combine that with wickedly sarcastic lyrics about fame and you've got a classic on your hands and in your ears. "I'm a Marquee veteran, a multi-media bonafide celebrity/I've got an allergy to Perrier, daylight and responsibility/I'm a rootin'- tootin' cowboy/the Peter Pan, the street credibility..." he sneers. Beware; the echoing "incommunicado" refrain at the end is as communicable as the Ebola bug in a hot zone.

"Torch Song" is a well-placed ballad that still has meat on its bones courtesy of Mosley's strong drums. It's a vividly transparent ode to Fish's weakness for drugs & drink in which he justifies his excesses via a desire to light his candle at both ends and go out like some of his tragic heroes. "Read a little Kerouac and it put me on the tracks/to burn a little a little brighter now/something about roman candles fizzing out/ shine a little light on me now..." he sings. Mark's flowing piano comes in to lead you into "Slainte Mhath" with its Who-ishly bold, punchy attack, Steve's prickly guitar effect and a raw intensity that never lets up. No watering hole is complete without its own cadre of war veterans and here Fish relates "... you listen with a tear in your eye/to their hopes and betrayals and your only reply/parading their anecdotes tired from old campaigns..."

The beautiful, expertly-structured "Sugar Mice" is now my top Marillion song (and they have a boatload of good ones). Everyone in the group is brilliant from start to finish but it's Fish's brutally honest vocal that makes it soar. He captures the essence of a cowardly man who has abandoned his family in favor of a love affair with the bottle. "Well, the toughest thing that I ever did/was talk to the kids on the phone/when I heard them asking questions/I knew that you were all alone/can't you understand that the government left me out of work?/I just couldn't stand the looks on their faces saying 'What a jerk'/so if you want my address it's number one at the end of the bar/where I sit with the broken angels/clutching at straws and nursing our scars..." he whines. The image those self- pitying words project in my mind is numbingly heartbreaking and real.

The driving, straight forward cadence of "The Last Straw" makes it an excellent album closer. After a couple of rounds of the stirring verse/chorus pattern they unleash a bridge that expands like a swollen river flooding over its levees. Fish's prognosis of the band's growing cancer is right up front as he cries "we're terminal cases that keep taking medicine/pretending the end isn't quite that near/we make futile gestures, act to the cameras/with our made up faces and PR smiles." Rothery's slashing guitar resurrects the rock momentum and initiates a build to an amazing fade out where once again Ms. Niles catapults the track into the nether regions as she screams above Fish that they're all drowning while desperately clutching at straws. She giveth goosebumps.

The title says it all. Straws are quite useful for stirring mixed drinks and hoovering up Peruvian marching powder and if you're aware of the sordid early history of Marillion you know there was no lack of either of those applications in their daily rituals. While bad habits damaged their health and personal lives and eventually led to a divorce of the group and their charismatic front man, somehow their vices didn't ruin their ability to write and record exemplary music. Chalk that up to youthful stamina, I guess. Nevertheless, they were still as doomed as the rudderless Bismarck. Yet they fought through their differences and their final album with Fish is no shabby collection of half-finished snippets and demos bundled up to complete contractual obligations. On the contrary, they went out together in grand fashion. It is a masterpiece of progressive rock that deserves widespread recognition and accolades for centuries to come.

It may be due to the cover, but this album feels a lot darker and grittier then any of the previous albums. The sound is surely less colourful. Maybe for that reason, this album originally lacked the appeal that Fugazi and Misplaced Childhood had on me. But so many years later, this album has become one of my Fish-era favourites.

The band sounds a lot more mature then the initial Genesis remake they set out to be, and most of all, Fish vocals - which I gradually got a bit tired of - are here in full glory, powerful, heartfelt, rich in melody and tone,... well, just perfect!

My first try with neo-prog wasn't exactly met with success; I expected a lot from IQ's THE WAKE, and that album never lived up to my expectations. I figured that the next neo band I should try would be Marillion, but CLUTCHING AT STRAWS wasn't the Marillion album I wanted to start with, but an inexpensive price tag at a random music store was too much to resist. So, what has become of try #2 into the neo-prog world?

Well, CLUTCHING AT STRAWS didn't exactly live up to my expectations, but I really never set my expectations high for this album, no offense meant. One thing I can say is that Fish's voice is a force to be reckoned with. While his timbre doesn't differ much from Phil Collins here, Fish really belts out everything as if his life depended on it, particularly on ''White Russian'' (a song I have lots of praise for). The instrumentation is well thought out; while nobody really sticks out, nobody tries to outdo themselves or overdo anything. A special kudos is sent to Steve Rothery's crystal-like guitar work that gives this thing an 80's sound but in a good way.

At best, this is a very carefully constructed pop album with lots of prog overtones e.g. the overlying concept about some poor sap named Torch. The one major problem with this album is that other than ''White Russian'', there really isn't a memorable song here. ''Incommunicado'' and ''Just for the Record'' have nice moments as well, but CLUTCHING AT STRAWS doesn't have much that really grips me. It takes too long to get started and finishes on a whimper.

It's not too bad, but fails to really stick out amongst the sea of prog I've heard thus far.

This particular entry by Neo-Prog pioneers Marillion is somewhere in-between their masterpieces Script For A Jester's Tear and Misplaced Childhood, and their slightly less-satsfying Fugazi album when it comes to my enjoyment of it. There is some incredibly strong material on here that the band would arguably never quite reach again, but there are still a few moments on Clutching At Straws that sound like filler to me.

The best tracks for me are ''Warm Wet Circles'', ''That Time of the Night (The Short Straw)'', ''White Russian'', ''Incommunicado'' and ''Sugar Mice'' (the last of those listed tracks being of my favorite Marillion songs ever produced from any album). However, all the rest of the songs are hit-and-miss for me, and more misses happen on this record than the previous one, at least from my perspective.

However, the number of songs that do appeal to me are so high quality, it makes owning the entire album seem more worthwhile just so one can experience those specific tracks. I think Fish was once again writing about themes and concepts, but the narrative approach had left by this point, and the album doesn't particularly flow like a concept album. Songs segue into each other, and some references to the title are weaved within the track names here and there, but ultimately this album works much better when viewed merely as a collection of scarcely-related tracks.

The moments that move me the most make up for the weaker sides that this piece has, and overall it's still a great Fish-era Marillion record. Still better than Fugazi, as mentioned earlier, but not as good as this line-up's two masterworks. It's simply a just above-average record that should appeal to all who enjoy Fish's work, but it doesn't relay the same epic, forward-moving feel that some of its peers did. I think that is mainly because this particular line-up of the band was about to stop working together, and the tensions were likely higher than ever in the studio. So the final presentation may have been slightly tainted by this, but the music itself managed to dodge the bullet, and Marillion's last record withy Fish ended up being a very worthy final hurrah.

If you enjoy accessible Pop music with heavy Prog leanings, this one might even appeal to you the most out of all the Fish-era albums, but if you're more eager to hear the grand concepts and innovation of Script and Misplaced Childhood it probably won't help you reach the same heights while hearing it. Despite that, it's still a fantastic record, and an enjoyable swan song for this era of Marillion.

Happy listening.

Clutching At Straws will always be remembered as the last Fish-era album which is unfortunate considering all the excellent material this release has to offer!

I honestly think that this record is just as great as all of the band's earlier highlights if not even better. Unlike Script For A Jester's Tear, that overemphasized its lyrical content, or Fugazi, that gave us a weird mix of compositions that in the end didn't accumulate into a cohesive album, Clutching At Straws is a perfectly balanced album that brings out all the best qualities that existed on the previous three albums. Might it be the conceptual arc, strong lyrics or commercially-oriented escapades. This album offers it all!

The first three tracks form a loose suite and it's a great way to transition the music from Misplaced Childhood by giving the audiences just enough familiar ground to keep them interested in hearing the rest. The remainder of the album keeps up a dark and melancholic-like atmosphere all throughout the release. Tracks like Incommunicado and Slàinte Mhath do try to lighten up the mood but even they carry some connection to the overall theme of the album and don't, in any way, break the atmosphere set by the rest of the material.

I believe that moody atmosphere on Clutching At Straws is here for all the right reasons and the fact of Fish's departure actually adds to the strength of the of this album's style. It's true that this material took me slightly more time to appreciate compared to the band's previous works and that could probably explain why not as many people like this album in comparison to classics like Misplaced Childhood. It takes a few more revisits and a bit more patience until the music settles in but once it does the quality of this material becomes undeniable.

Just like Peter Gabriel before him, Fish left his band at the hight of their career and just like Genesis, Marillion managed to maintain their popularity for years to come. Although Clutching At Straws will always be overshadowed by his departure this album is an essential piece of Neo-Prog that has to be in every prog rock music collection!

***** star songs: Hotel Hobbies (3:35) Warm Wet Circles (4:25) That Time Of The Night (The Short Straw) (6:00) White Russian (6:27) Slàinte Mhath (4:45) Sugar Mice (5:46)

**** star songs: Going Under (2:47) Just For The Record (3:09) Incommunicado (5:16) Torch Song (4:04) The Last Straw (5:58)

Although a slightly frustrating album for me, there's just something about the atmosphere that brings a uniqueness to Clutching at Straws. Unlike a lot of neo-prog, this album feels like something fairly fresh. Instead of looking back (i.e., Genesis), Straws reminds a lot of the time period, with the standard power ballad (Sugar Mice), and plenty of moments--somewhat bluesy and mournful--that really remind me of the prototypical late 80s cop show involving a lead detective who is out-of-luck and out of chances. Fairly standard stuff, but the combination with some prog elements, true passion, and a believable plot really helps Straws to stick out nicely in my collection.

Highlights: Hotel Hobbies/Warm Wet Circles/Short Straw, Incommunicado, Sugar Mice, the Last Straw. The opening 3-song suite is a very solid piece, with perhaps the most interesting music coming right off the bat (Hotel Hobbies). If the whole album was of this quality, we may be looking at 5-star material.

And then, the album falls into a fairly generic, 5-minute-ish song structure, with long gaps between songs that really cause the album to lose momentum. Perhaps things were rushed or strained in the recording studio, but it just feels a bit incomplete. However, some of these "singles" are very listenable, from the energetic Incommunicado to the sassy finale.

Of course, Sugar Mice is in its own class here. It's so deceivingly simple that structurally there is little difference between this and your run-of-the-mill power ballad. However, Sugar Mice blows Every Rose has its Thorn out of the water, probably because Marillion are better songwriters, lyricists, and can deliver some real emotion. I've been noticing this all the time with prog, and I just love it when prog bands take another band or genre's calling card and come up with something so much better than the original!

The subject matter is tough too, but mostly because it's connecting with something that so many struggle with. The self-centeredness that alcoholism brings can lead to a captivating album, but because it was also partly happening in real life, it was perhaps inevitable that there could be no fruitful band collaboration with Fish moving forward from Straws.

Some great moments, countered by some relative duds, and a bit of a lack of coherence and momentum in places, but I enjoy coming back to Clutching at Straws frequently. Perhaps it inspires me to be just a bit better person...to never let myself be #1 at the end of the bar.

Ah, Marillion... The band which in the 80´s rescued symphonic rock from obscurity and put it right back to the limelight for the new generations! How can I be grateful enough? And yet I must admit I had lots of prejudice against this album (without even listening to it). Like a lot of dumb prog fans I was fearing so much that Marillion had become soft and pop after the worldwide success of Kayleigh that I simply refused to even listen to their new stuff. One glance at the local TV showing their video for Sugar Mice was enough to see "sell out!" everywhere! (my worst nightmares seemed to come true). I decided to forget it all about this band and keep the good memories I had from Script For A Jester´s Tear. Who could ever guessed at the time that Clutching At Straws would become my second favorite Marillion album?

Well, it just took a few listenings, in 1990, when in a fit of nostalgia I thought it would be good idea to hear all their former CDs before Fish left the band in 1988. And I realized that Clutching At Straws was so far away from being that pop record I feared for years. Ok, the music changed, there are no epics, no 9 minute suites and all, but it is still great prog music, that only a talented bunch like this could produce in the late 80´s. Marillion was often labeled as Genesis copycats, but they were really making their very own sound since the beginning. Even better, this CD clearly showed they were also paving the way for the future prog bands. And, like Misplaced Childhood before it, Clutching At Straws is another concept album (something considered way too reckless by the music industry then). The story of succesful writer Torch against his problems with drugs and alcohool is quite too close to home (Fish anknowledges the character was based largely on his own life at the time).

Musically the album has great moments, although it is not perfect. There are some tracks that took quite a long time to like (White Russian, Slàinte Mhath, Incommunicado, Sugar Mice), but eventually even those ones won me over. However, the first three songs (Hotel Hobbies, Warm Wet Circles and That Time Of The Night) were so wonderful I still think they are worth the price of the CD alone. Besides, Just For The Record has one of the most Banks-inspired synth solo ever done by Mark Kelly. Not to mention the group´s tight performance, absolutely amazing.. Fish never sang better and Steve Rothery reached new heights with his guitar playing. Nowadays it became clear that those guys could do little more after this string of outstading albums. Marillion was the Yes of the 80´s. And like that band, they could not go much further in terms of musical relevance for their time. Typical case of too many good hands in one single band too long. One had to get out sooner or later.

Conclusion: another excellent release by this great band. Its swan song was one of the most beautiful works of their short time together with poet and singer Fish, but, when they were together, how they shone like few others ever did! Rating: 4,5 stars for this one. Highly recommended.

Marillion's last album with Fish, so the band's fourth album, is a nice surprise. Fish ends his Marillion career beautifully, with an almost masterpiece. "Clutching At Straws" is the second best Marillion album, only second to "Misplaced Childhood", in my opinion (even though some may not agree).

IT has all the elements typical of the band: nice symphonic prog influences, heavy synths typical of the 80's, and, of course, memorable melodies, which ae conceived thanks especially to Fish's strong and effective voice.

Great songs, like the haunting "Warm Wet Circles", which could easily be a cut from "Misplaced Childhood". "The Time Of The Night" is another great one, with a great melody and chorus. "Just For The Record" is a brilliant pop song, "White Russian" a relly good prog song, with a catchy melody. "Incommunicado" must be, even if I'm not sure, a huge hit at their concerts, "Slainte Mhath" another fabulous tune, even this one a little "Misplaced Childhood" influenced. Some other songs, however, a little less appealing, and didn't draw my attention much.

As a conclusion, I must say that anyway, despite some defects, this is definitely an album to listen to, if you like Neo Prog.

Coming off the back of the critically acclaimed and commercial monster smash Misplaced Childhood, Marillion, under pressure from EMI, released this LP in 1987, rather than taking the break that all of the band agreed was desperately needed following years of relentless touring and recording.

This is an album which divides Marillion fanatics like myself and also reviewers on this site. Reviews veer between masterpiece and god awful, whereas, in truth, it lies somewhere in between.

The one thing I will say about this is that it is, essentially, a Fish solo album in all but name, and the big man himself has been quoted many times as stating it is his favourite album from his period with the band. Take a look at the cover. The band look disinterested in the pub playing pool or staring vacuously into the distance. For this is absolutely all about Fish's personal demons. Drink, marriage, a rotten society, drugs, and more drink. More over, the band, aside from some of Steven Rothery's trademark beautiful guitar solo bursts, sound like an outfit truly in need of a rest and also rather tired of the whole (show) business.

That is not to say that there are not some wonderful moments on this. That Time Of The Night is one of the era's finest tracks. With Sugar Mice, Fish continued his uncanny knack of producing exceptional commercial music with prog sensibilities, although the other hit single, Incommunicado, is a little bit too frenetic for my tastes.

Also, when he sings with genuine passion and bitterness, especially on Slainte Mhath, Fish can raise the hairs on the back of your neck.

There are, though, too many fillers and tracks where the band are merely going through the motions. Going Under and Just For The Record, especially, are very forgettable. What follows these, White Russian, is, by contrast, perhaps the most mature track that the band had produced, with a thunderous riff and Kelly shining on piano accompanying a bitter and cynical Fish observation.

After this, the band and Fish would go their separate ways. For a lot of people, it was the end of the band as an interesting prog outfit. For me, their finest moments were to come, and the first time I heard Hogarth singing The King Of Sunset Town on his debut Season's End, I knew everything would be alright. Strange, really, because I had followed the band since seeing them at The Marquee before most people had ever heard of them, and Fish was as close to an idol for me as I was ever likely to get in that era or any other.

Three stars for this, although it would get a 3.5 on such a rating system. It is very good in places, but, to these experienced Marillion ears, the least satisfying of that era of the band. The best was yet to come.

The End of an Era

Just two years after the commercial and artistic triumph that was Misplaced Childhood, Marillion crafted another masterwork with 1987's Clutching at Straws. Despite all of the tensions and problems during the recording of this album, Marillion still managed to come out on top, creating one of the definitive releases in eighties progressive rock. This would end up being the last Marillion album with Fish behind the microphone, and I think time has proved this as the perfect swansong for the dramatic and theatric vocalist. Providing some of his most emotional lyrics and vocal performances, complimented by some of the darkest music Marillion has ever produced, you have some of the greatest material the band has ever created. Clutching at Straws is a masterpiece out of the league of all other masterpieces, and there really is no other way to describe it. Even though I love both Fish and Hogarth-era Marillion, no future album would ever top this one. If you like progressive rock, neo-prog, or just music in general, Clutching at Straws is an essential masterpiece!

The music here is very similar to the first three Marillion albums, even though the mood is much darker and melancholic and the sound is slightly more mature. This means that you should expect dark neo-prog with beautiful vocal melodies, poignant lyrics, and melodic instrumentation. The keyboards on Clutching at Straws are much more atmospheric than on the first three albums, even further proving Mark Kelly's keyboard prowess. Many of the solos on this album are from Steve Rothery. I adore his melodic playing style and, even though he isn't the most technical guy out there, his picking has more feeling and emotion than almost anyone. Clutching at Straws also features some of the best basslines Pete Trewavas would ever perform, not to forget about the spot-on drumming from Ian Mosley. The musicianship is very professional overall, and is yet another reason to love this album. However, the greatest assets of this entire album lie in the strength and sheer emotional power of the compositions. When I say that this album has some of the most beautiful music ever written, that is no overstatement. Songs like "Sugar Mice", "Warm Wet Circles", "Going Under", and "The Last Straw" are all emotional masterpieces. There are also some more upbeat tunes like "Just for the Record" and "Incommunicado", both of which are also masterpieces. Every song on Clutching at Straws is easily 5-star material; how many albums can you really say that about?

It's nearly impossible to discuss a Fish-era Marillion album without mentioning Derek Dick's terrific lyrical force. I'm not usually one to pay much attention to lyrics, but I must say that the words here have captivated me from first listen. Clutching at Straws may be some of Fish's finest work, considering the amazing amount of emotion he put into songs like "Sugar Mice" or "The Last Straw". If lines like "So if you want my address it's number one at the end of the bar, Where I sit with the broken angels clutching at straws and nursing our scars, Blame it on me, blame it on me" or " We're terminal cases that keep talking medicine, Pretending the end isn't quite that near" don't send shivers down your spine, you may not have a soul. The deep lyrical context Fish has created in relation to his own alcoholism is truly spectacular. I don't hesitate in saying that this album contains some of the greatest lyrics ever written. Add in some of Fish's most inspired and emotional vocal performances, and you have another aspect where Clutching at Straws is superb.

The production is the best that Marillion has ever had. Whereas their earlier works sounded slightly too synthetic, this is the perfect balance between an organic sound and a powerful mix.

Conclusion:

Since the first time I heard Clutching at Straws, I knew it was a complete masterpiece. This is one of the most emotional and spectacular albums I own - it's one of my all-time favorites for sure. If you like progressive rock and still haven't gotten a copy of this classic, I would fix that as soon as possible. This is one of my favorite albums, so I have no hesitation in giving out a 5 star masterpiece ranking. Even though Marillion would release some more great albums after this, Clutching at Straws is the end of their definitive era. Fish and Marillion were an unstoppable force back in the eighties. They created some of the best prog rock ever as well as many of my personal favorites. I'm so glad I've had the experience of hearing their music - this is magic in its truest form!

The last Marillion's album with Fish is the end of an era, and a pity because it contains some of the best songs ever released by the band. The sound is similar to Misplaced Childhood, but even if all the songs are more or less about alcoholic themes it's not properly a concept album.

I won't go through each single song as there is already a high number of reviews I agree with. One of the reasons why I have this album in my heart is that when it was released I was aware of Fish leaving, even if a radio was speaking about "disbanding". So I was surprised to find a so good work for a band whose elements were about to quit.

The songs and the arrangements are excellent, with highlights in "Warm Wet Circles", "White Russian", "Slainthe Mhath" (hello in Scottish) and "The Last Straw", but the real excellence is in the lirycs. This adds "Sugarmice" to the highlights. It's poetry. Fish will come back to a similar argument in his first solo album (Family Business).

The only weak track for me is "Incommunicado". This should have been the hit single from the album so it results in the less progressive track. Nothing more than good pop. A note: for the first time Marillion have chorists, but in the TV gigs two men and a women became two girls. In the 80s there was a big attention to the look.

4+ stars for the last act with Fish. A must have for all the Marillion fans

Goodbye Fish, you will be missed

Since I learned that Fish left MARILLION after releasing this album refused to upgrade it to CD, being that it gave me some sort of nostalgia to listen the "swan song" of a glorious band that turned dull and in-transcendent after the departure of the talented frontman, vocalist and lyricist, but instead of complaining, lets talk about the last album of MAERILLION with the charismatic Derek William Dick.

The album is opened "Hotel Hobbies" a song that begins with a long and mysterious introduction with Fish singing almost a cappella, being that the music is so subtle that we can almost only hear the voice, but suddenly the song radically changes into a heavy section with Mark Kelly and Steve Rothery giving a memorable performance.

Almost instantaneously "Hotel Hobbies" morphs into "Warm Wet Circles", one of the most beautiful and melodic classics of the band, the vocals are so unique, that I can't imagined it being sung by Hogarth...One of the top moments of the band.

"That Time Of The Night (The Short Straw)" is one of the songs that I like less from the album, but I can't deny that the keys and bass are spectacular and the soft changes are very interesting, probably one of the few songs that reminds more of the four man era GENESIS.

"Going Under" is another high point with the excellent guitar and atmospheric Mellotron, but best of all the way it links with the faster and strong "Just for the Record", this guys manage the contrast between songs in a very skilled way.

The following two tracks are among my favorite MARILLION songs, the atmospheric but hard "White Russian" with radical changes plus amazing piano and the eternal "Incommunicado", a classic that shows the typical Fish MARILLION style, simply frenetic and delightful, with one of Derek"s best vocal performances.

"Torch Song" is a beautiful ballad, not spectacular, but good enough, specially because the Synth, but it leads to another classic "Slainte Mhath" which after the soft introduction changes into one of the best tracks of their history, perfectly syncopated by Ian Mosley who has one of the best timings I ever heard, but not lack of emotion and abrupt percussion explosions, and to complete the scene, Fish showing all the energy he's capable of.

The album ends with "Sugar Mice" and "The Last Straw", both soft and melodic, as to lower the revolutions after the frenetic "Slainthe Mahth", but in my opinion not the best option to close the last album with Fish in the vocals.

Obviously "Clutching at Straws" is not in the superb level of "Script for a Jester's Tear" or even "Misplaced Childhood", but surely an essential release for every Prog collection, so 4 stars it is.

BTW: My version of "Clutching at Straws", comes with a second CD that I won't write about (I only review the albums as they were originally released by the band),, that contains good unreleased material and some alternative versions of the best tracks , but despite this option I take, strongly recommend to get it, some of this bonus tracks are very good.

Although I think Script For a Jester's Tear has some of Fish-era Marillion's best songs, I think Clutching At Straws beats it out in my estimation as their best album. Whereas Misplaced Childhood was an occasionally twee look at an ultimately safe topic - everyone sympathises with romantic disappointment, after all - Clutching At Straws sees Fish directly confronting the subject of his own binge drinking behaviour which at the time was spiralling out of control. The opening triptych of Hotel Hobbies-Warm Wet Circles-That Time of the Night showcases this theme particularly well, Sugar Mice is a heartbreaking account of how people end up disappointing each other, whilst White Russian shows that through it all Fish still hadn't lost his social conscience.

Incommunicado, the single from the album, might be a fairly poppy merry-go-round, but like Kayleigh you get a lot more out of it in the album context - in this case, the jollity expressed by the song is clearly a facade which finally crumbles with The Last Straw. On the whole, the album sees an excellent performance from the band - in particular, Mark Kelly is absolutely on fire this time around - and it also features a deft inclusion of female backing singers which works far better than anyone could have expected it to.

It might represent the end of Fish-era Marillion, but talk about going out on a high. I think it's the best album they ever made with Fish, and must surely be in the pantheon of their best albums ever.

Marillion present one of the best prog albums of 1987.

Neo-prog progenitors Marillion's followup to the "Misplaced Childhood" masterpiece certainly does not disappoint and features some of the tracks that permeated their live concerts. Fish was a commanding theatrical presence during this early era and knew how to move an audience through an emotional experience using just the right dramatic intonation and costumes to evoke a response. He was a master vocalist similar to Peter Gabriel in the early Genesis phase.

Musically the band are legendary implementing into the songs intricate structures, the pleasant synths of Mark Kelly, strong melodies held together by the drums of Ian Mosley and the basslines of Pete Trewavas, and of course the powerful lead breaks of Steve Rothery. Of course the drawcard is the vocals of Fish; a key element to the brilliance of the early incarnation of the band. The band were the dominant force of the prog 80s. If it were not for bands like Marillion or Rush, prog would have suffered during the difficult 80s period. Fish story telling vocals are prominent such as on 'Hotel hobbies', 'Warm wet circles' and 'That time of the night (The short straw)'. The reverberated guitars and synths generate an ambience as Fish softly croons.

These first 3 tracks flow together seamlessly. Then the first power ballad comes with 'Going under'. The vocals are exquisite, "I'm going under fast, slipping fast, am I so crazy", and very spacey symphonic textures draw the listener in.

'Just for the record' has a faster tempo and heavier guitars and drums. The 80s synths are everpresent but this also has some heavy distorted guitar. The synth solo is terrific and it has a striking melody. A howling wind begins 'White Russian'. Fish sings "where do we go from here" until a driving riff motors along and the next verses are sung more forcefully with images of terror, war, poppies on the cenotaph, the holocaust and uzzies on the street corner. Fish sings with insightful conviction "replace our faith in human rights" in this anti-war song that is a highlight on the album. It finishes with a musical box song, a nice touch. 'Incommunicado' is one of the fan favourites sung many times live, and it features a prevailing hook, and fast beat with progressive time sig changes. This one is a blockbuster, loud and brash, it breaks through the serenity with some stunning organ runs and Fish at his most roguish, singing aggressively and abrasively.

A quiet guitar begins 'Torch song' and Fish is temperate in mood, "burn a little brighter now". There are some narrative sections over a chiming synth and guitar. It segues directly into the melodic 'Slàinte Mhath'.Fish is excellent on this, "this is the story so far", and the guitars of Rothery are hypnotic. The music on this album is truly infectious.

'Sugar mice' is a Marillion classic with very serene passages in the verses and a commercial sound suitable or radio. In fact it was a single for the band. The lyrics are quite iconic, "I heard Sinatra calling me down through the floors". The power ballads of the 80s are an 80s fixture and this is Marillion's version. It builds in the mid section with loud lead guitar break, effective bassline and 4/4 percussion. The straight forward feel is welcome after the more intricate songs. The wonderful melody is soaring and easy to soak in to the system.

'The last straw' closes the album and features Fish performing a duet with the powerhouse vocals of Tessa Niles. It closes the album with a soulful approach and the repeated phrase "we're clutching at straws" is echoed by Niles' "still drowning".

Thus ends a very effective album with consistent quality and some of Marillion's best material. 1987was admittedly a weak year for prog but "Clutching at Straws" was one of the saviours as far as prog was concerned.

Mesmerizing

This album was released when I was 15. At the time, my table tennis coach was a huge Marillion and Rush fan (and he still is). He got me hooked on both in the end, although Rush did a much better job at sticking with me - probably because I'm a 'Fish-era Marillion fan'. I recall that he didn't want to lend me this album at first, because he thought it was too dark and possibly confusing for me, from a lyrical perspective. Little did he (and I) know that this would over time become my favourite Marillion album. That didn't happen on the spot, I only really started listening to it after I was stricken by the raw energy of Slaínthe Mhath on the live album The Thieving Magpie.

Over time, Just for the Record, Slaínthe Mhath, Sugar Mice and White Russian have become part of my list of all time Marillion favourites, together with the often despised Incommunicado. The story of the album, the melancholy of the singer wasting away and loosing his dream has inspired the band to great music - a pity it also led to the departure of their own singer.

Musically, this album contains everything that Marillion is known for: emotional vocals, wonderful guitar work, driving, yet melodic bass and ever present keyboards. This album defines Neo-prog, if it needs a definition, and as such will always be one of the few real prog master pieces of the 1980's.

After the huge success of their previous album "Misplaced Childhood" the band MARILLION decided to have another go at a concept album in the form of CLUTCHING AT STRAWS. This is a tale of an unemployed loser by the name of Torch who has the unfortunate luck to be bad at everything he attempts including being a good husband, father and singer in a band. His downward spiral only continues as he drowns his sorrows in alcohol. MARILLION had a way of keeping the progressive side of music firmly embedded within the human experience which is a breath of fresh air in a genre that relishes in alienation and mental escape into the realms of fantasy, the extraterrestrial and interdimensional.

The theme and concepts that revolve around the human story of a working class bloke who fails to keep his life from becoming shambles is a successful formula which in my opinion opened up the possibilities of progressive music to a wider audience who eschewed the strange and freaked-out musical world that had its reign the previous decade. Sadly the touring schedule burned out the band which proved too much for lead singer Fish who would depart after this album in order to pursue a solo career. The album is also different than the last in the fact that unlike "Misplaced Childhood" where the tracks smoothly blended into one another, on CLUTCHING the songs are distinct and take the listener on a roller coaster ride of hooks, riffs and tempos.

For me it's a clean sweep of 5 star albums for Fish-era MARILLION. These four albums represent a cornerstone in the history of progressive rock. Although I would hardly count them as the most progressive and complex that the genre has to offer or even the most original since the Genesis influence is so obvious, that doesn't seem to be the point. They are simply put, a renaissance of melodic and dramatic representations of the human condition and the new bearers of a torch that had been abandoned by money hungry bands tempted by the pop side. Although the neo-prog sound would carry on as would the band itself, I am hard pressed to find anything that equals the melancholic beauty and emotional depth that these first four albums present.

Melancholic Marillion

Last studio album with Fish, "Clutching At Straws" marks the end of MARILLION's first era. As its cover art suggests, the atmosphere is quite dark and introspective, contrasting with the general commercial approach of their well-known 1985 opus. With fewer poppy moments, the tracks are shorter, offer different ambiances, and sounds more modern than their previous material. Less fantasy-oriented, the serious and intimate impression displayed by the music somehow announces the next generation of prog musicians to come.

Don't trust the soft introduction of "Hotel Hobbies", this song is in fact a rocking neo-prog gem! The dreamy melancholic "Warm Wet Circle" contains a great epic finale, whereas the poppy "That Time Of The Night" has floyd-ian guitars. With its pretty introduction and delicate notes, "Going Under" immerses the listener into an aquatic world. However, the first soapy passage appears with the joyful intruder "Just For The Record" and its dated synthesizer sonorities.

In contrast, the beautiful and rageous "White Russian" is one of the greatest songs of the disc. The magic is still present. With its energy and keyboards soli typical of neo-prog, "Incommunicado" could have been placed on "Misplaced Childhood". This track is nonetheless enjoyable. After the water, the "Torch Song" is rather aerial, while "Slaìnte Mhath" possesses a folk feel. This different ambiances shows that MARILLION is still inspired by various musical styles. The last two tracks are not the best ones. "Sugar Mice" is the other soapy song of the record, whereas "The Last Straw", featuring vocalist Tessa Niles, is uneven.

Nevertheless, despite a few weak passages, the overall result is quite original and refreshing, even for the neo- progressive genre. Despite internal dissensions at the time, the band's creativity remains intact. It's a pity these led to Fish's departure, because the band definitely emancipated from their initial GENESIS influences and refined more and more their musical identity. Apart from the other MARILLION's studio albums, "Clutching At Straws" is their most depressive and intimate opus from the Fish-era, and also the least dated, defining a new orientation for prog. There were not many releases of this quality at this period for progressive music lovers.

An essential disc for MARILLION and neo-progressive fans. You may appreciate it even if you're not into this particular style (as me). After this one, the band will never be the same...

This is Marillion's fourth and final studio album before the departure of the original vocalist-lyricist Fish and the arrival of Steve Hogarth, with whom the band would steer into quite another direction over the decades to come. It's clearly my favourite of the Fish era, and happens to be among my dearest vinyls. I had waited anxiously for its release, as it was during the two-year period of my most dedicated fandom ever [for any artist], in the age of 16-18. I liked it right from the first listen and I've never grown tired of it - having wisely avoided to over-play it all these years. Compared to the breakthrough album Misplaced Childhood (1985), this sounds more mature and far less cheesy. As great as MC is in its suite-oriented coherence and continuity, Clutching at Straws is sonically much more nuanced to my ears, and furthermore I think it has the finest lyrics Fish has ever written.

'Hotel Hobbies', 'Warm Wet Circles' and 'That Time of the Night' form a mini-suite which is simply fantastic. Already in the opener the dynamic changes from delicacy to intensive outburst and back is spellbinding, while the melodic and lyrical content in 'W.W.C.' is awesome. I'm even fond of the quiet interlude-like section ("It was a wedding ring, destined to be found..."). This opening suite is a good example of how Steve Rothery's guitar has much more elegance and variety in sound than on earlier Marillion albums. The CD version contains 'Going Under' which I know as a single's B-sider. Not quite up to the high quality of the album, this simple and introspectively moody little song, but an OK addition.

'Just for the Record', a song about alcoholism, is a minor prog gem hidden behind the "drunken" fast-tempo intro, and contains a really cool synth solo. 'White Russian' is a strong classic, with hair-raising lyrics written in Vienna: "we buy fresh bagels in a corner store, where swastikas are spat from aerosol".

The second side is not quite as perfect, but great enough not to drop my full rating. 'Incommunicado' sounds like an attempt for a hit single (I don't know if it was one), but its positive energy is pretty enjoyable nevertheless. 'Torch Song' is another fine song about drinking. I like the spoken dialogue of Doctor Finlay and Mr Torch. 'Slàinte Mhath' used to feel slightly duller than the album in general, but it has aged very well, and admittedly it was a good concert opener at the time. 'Sugar Mice' is the most sentimental song, not necessarily progressive but emotionally all the more impressive. Again, the lyrics - soaked in self-pity - really get under one's skin. 'The last Straw' is a powerful end piece for this excellently produced Neo Prog album. A definite masterpiece of its era, and a timeless classic.

As most Marillion fans know, "Clutching at Straws", released in 1987, would be the last to feature Fish as the lead vocalist. After the tour to support this album, he decided to leave the band and have a go at a solo career. Of course, many were sad to hear of his departure, but the band went on and persisted. This album, however, was obviously taking a different direction which was obvious immediately because of the difference in album design.

"Clutching at Straws" nevertheless, is still an emotional and strong album. It is actually tied more to the previous albums than most think in that Torch, the main character from this album, is the 29-year-old descendent of The Jester, who was featured in the album art of previous albums. Torch is an out of luck individual who has been through a failed marriage, he was a bad father and also the singer for an unsuccessful band. He ran away from his problems through drinking and drug use. The concept reflects Fish's own life and has been considered auto-biographical. The songs are quite dark in lyrical context, but the music is still prime-Marillion, the style very close to previous releases by the band.

The album cover is another story all together. Fish wanted a cover showing some of his inspirations. On the front cover, Fish is shown with Robert Burns, Dylan Thomas, Truman Capote and Lenny Bruce. On the back of the album, John Lennon, James Dean and Jack Kerouac are pictured. The artwork is all drawn by Mark Wilkinson, who complained that the artwork didn't come close to depicting what he had pictured in his mind, and a lot of that had to do with the fact that he was rushed to get it turned in by the time the record company demanded it.

Speaking of the record companies, they also rushed this album. Since the band was very popular in the UK and had shown some popularity that was growing in the US, they were in a hurry to make a profit off of a new album. There was also the fact that the US record company Capitol Records wanted to pressure the band into making it more commercial and threatened that if they didn't have a successful record, that the label would drop them. They ended up dropping them a few years later anyway. However, even with the rushed atmosphere, the album itself turned out quite well, producing some of Marillion's best music among other songs that were a bit less interesting. Somehow, the band still pulled off an excellent album, which was pretty close to the high standard that they had set for their music.

The songs on this album are typically a bit shorter than some of their previous material, which is probably a result of not being able to spend so much time on perfecting the music. Yet, all of the key elements are still there. The music is lyric heavy, as is expected from that era of Marillion's music. Fish's vocals are important, and they are definitely not weak by any means. They are full of emotion and dynamic, Fish's ability to make the lyrics clear and defined. The instruments are top-notch as usual, with Rothery's ability to play the guitar parts, flourishes and accompaniment reminiscent of Steve Hackett, keeping it restrained when needed and being quite awesome when required. This is all so well supported by Mark Kelly's keyboard style, always so important to Marillion's music, standing out when needed to give life and variety to the music, but also being restrained when supporting, always providing the best accompaniment in the business especially for a band that relied so much on their story lines and lyrics. It was not very often that a band could work so well together with dynamic and sometimes complex music as this band had, the only band that could come close to being as perfect as Genesis in writing and presenting lyric-heavy progressive music.

This album gets panned way too much. It is a great album and I consider it to be almost as good as the previous 3 for which Marillion is most revered for. Even though all of the songs are great, the best tracks are the last four, "Torch Song" through to "The Last Straw". In these songs, Fish is at his most dynamic and emotional best, the songs being quite memorable and beautiful. Since it is only a slightly lower in brilliance than the previous albums, I tend to rate it with 4 stars, but it is still an album that is worthwhile and I don't understand why it is panned so much by the fans. Honestly, I blame the slight lapse in quality to the record label pushing to get the record out, but I am amazed that it still turned out as good as it did. That, to me, is a huge testament to the band being able to rise above the pressure. It is an excellent album.

Review Nº 262

"Clutching At Straws" is the fourth studio album of Marillion and was released in 1987. Like their previous third studio album "Misplaced Childhood", "Clutching At Straws" is a conceptual album and the last studio album with the participation of their former member and front man Derek Dick "Fish", who left the band in 1988 to pursue a solo career.

Written and conceived during a period of time of inner great turmoil on the group, "Clutching At Straws" would prove to be Fish's swan song album, and perhaps Marillion's most unknown and underrated studio work of all four studio works of Fish's era. Still, commercially it wasn't quite as successful as its predecessor "Misplaced Childhood", but "Clutching At Straws" reached the album chart and it's also considered amongst the best musical studio works of Marillion's Fish era, by many fans and critics. It's also very well rated on Progarchives, and it's also to Fish himself ated, on several interviews, that this was the best album that he made with the band. I think it was his most personal work with Marillion.

"Clutching At Straws" is another conceptual album. The character of the story is a man with 29 years old, unemployed, whose life is a complete void. He seeks of comfort especially in alcohol to numb himself. He is trying but failing. He has a failed marriage, he is being a deadbeat father and professionally he feels his lack of commercial success as a vocalist on a group. So, he will be drunk and he writes about his own fails and laments. As he can't find no other real solutions, he ends up in bars, hotel rooms, and on the road, whining and drinking without redemption and a real future hope.

"Clutching At Straws" is very different, on lyrics and music, from its predecessor's albums. It's darker and, in a certain way, it's a kind of a Fish autobiographical album, exploring the excess of alcoholism and life on the road, representing the strains of constant touring that would result in the departure of Fish from the group to pursue his solo career.

The line up on the album is Derek Dick "Fish" (vocals), Steve Rothery (guitars), Mark Kelly (keyboards), Pete Trewavas (bass) and Ian Mosley (drums). The album has also the participation on vocals of Tessa Niles, Chris Kimsey and John Cavanaugh.

"Clutching At Straws" has eleven tracks. Because this is a conceptual album, the music moves and flows continuously. Despite the clear differences, the music here is very similar to the first three Marillion's albums, even though the mood is much darker and melancholic and the sound is slightly more mature. This means that you should expect a much dark neo-prog album with beautiful vocal melodies, poignant lyrics, and some melodic instrumentation. The keyboards on "Clutching At Straws" are much more atmospheric than on the first three albums, even further proving Mark Kelly's keyboard prowess. Many of the solos made on this album are from Steve Rothery. Personally, I adore his melodic playing style and, even though he isn't the most technical guy out there. Still, his picking has more feeling and emotion than almost anyone. "Clutching At Straws" also features some of the best bass lines that Pete Trewavas would ever perform, not to forget about the spot-on drumming from Ian Mosley. The musicianship all over the album is very professional overall, and this is yet another reason to love this album. However, the greatest assets of this entire album lie in the strength and sheer emotional power of the compositions. When I say that this album has some of the most beautiful music ever written, that is no overstatement. Songs like "Sugar Mice", "Warm Wet Circles", "Going Under", and "The Last Straw" are all great emotional masterpieces. There are also some more upbeat tunes like "Just For The Record" and "Incommunicado", both of which are also masterpieces. Every song on "Clutching At Straws" is of high quality. I don't hesitate in saying that this album contains some of the greatest lyrics ever written. Add in some of Fish's most inspired and emotional vocal performances, and you have another aspect where "Clutching At Straws" is superb.

Conclusion: "Clutching At Straws" is an excellent album. Some consider it a more mature work than the other three previous studio albums. They say the lyrics and compositions are more emotional and dramatic as ever, on Fish's era, and that they had found finally their musical identity and balance, and this album is the last definitive break with Genesis musical influence. Sincerely, I think there is some truth in these things. Still, I personally think that "Clutching At Straws" isn't, in a certain way, a Marillion's album, but a solo musical effort of Fish. Lyrically, the character was inspired by Fish's life experiences, and it has everything to do with his personal life in those times, with his problems of the excess of alcohol and the abuse of drugs. Musically, it's also much close to the music that Fish would make on his solo albums. Anyway, and despite "Clutching At Straws" be a great studio album, it isn't as good as "Script For A Jester's Tear" or "Misplaced Childhood" are. Still, it still remains, for me, an excellent addition to any prog musical collection and represents the last contribution of a great artist on a great band, too. Fish left the band by the front door.

Prog is my Ferrari. Jem Godfrey (Frost*)

Clutching At Straws, Marillion's fourth job, is a grim journey through bars and roadside hotels, guided by Torch, a fictional character ruined by his addictions and emotional hardships. The songs are loaded with discouragement and pessimism, transmitting their message with brilliance and forcefulness.

The album (except for the dynamic albeit highly commercial song Incommunicado), has a very high level. The initial trio (Hotel Hobbies, Warm Wet Circles and That Time Of The Night), Slàinte Mhath, and the extraordinary Sugar Mice noticeably stand out.

The álbum is, by all means, an essential work in Marillion's discography.

The pressures to stay on the crest of the wave generated so much tension within the group, that after the release of Clutching At Straws the relationship between Fish, the frontman, and his bandmates unfortunately broke and then had separated their ways.

What?! No album concept or 1970s Genesis copying? Finally, the band actually feast on the imitation of several other bands.

1. "Hotel Hobbies" (3:35) the opening sound like the band is struggling between going the direction of FLOCK OF SEAGULLS and BON JOVI, but then the Peter Gabriel vocal approach starts, over some pure 80s music. (Fine Young Cannibals? ABC?) Nice guitar and drums passage in the middle of the third minute. Weird, sudden end. (8.75/10)

2. "Warm Wet Circles" (4:25) despite Steve Rothery's continued adherance to Steve Hackett's guitar sounds and stylings, this song is rather their own (despite the Nektar guitar arpeggio that the opening section is founded upon). The band is establishing their own independent sound. (8.5/10)

3. "That Time Of The Night (The Short Straw)" (6:00) Now I know where Mirek Gil got his guitar sound! Another song that seems to indicate that the band is ready to throw off the Genesis mantle and establish themselves for their own sound and style. Fish is still stuck in the PG style of theatric singer-songtelling, but this is my first exposure to Steve Rothery finally establishing his own sound. The keys, bass, and drums are solid, more reflective of the 80s than late 70s Genesis, so, the band is caught on a fence: the majority moving toward establishing their own sound and style while Fish is still firmly entrenched in imitation of a bygone era. Still, this is one of my favorite Marillion songs of the 1980s. (9/10)

4. "Going Under" (Not included on LP releases) (2:47) nice original melody lines established by arpeggiating guitar and Fish. Now this is the NeoProg sound that IQ has been dragging along for the past 35 years. (5/5)

5. "Just For The Record" (3:09) like solo PG! A reworked "Moribund the Burgermeister" with some Cagey Tony Banks synth work and early 1980s Phil drumming. (8.5/10)

6. "White Russian" (6:27) Some of the best, most confident drumming I've ever heard from Ian Mosley! The rest of the song is forgettable (even the Genesis-imitative delicate part after 3:54), but, you go, Ian! (8/10)

7. "Incommunicado" (5:16) The Who! Full on! The only Genesis here is a bit in the keyboard department, otherwise, the band have finally chosen another superband to copy. And they do it pretty well. (8/10)

8. "Torch Song" (4:04) lyrics sounding half PG, half Rickie Lee Jones (lyrically). Rhythm guitar sound is so 1980s. (We all used this sound!) (8.5/10)

9. "Slàinte Mhath" (4:45) Simple Minds! "Don't You (Forget About Me)" Nice performances by Fish and Ian Mosley. (8.5/10)

10. "Sugar Mice" (5:46) Roxy Music! "More Than This"! Turns into guitar-oriented classic rock during the heavy, instrumental section--and then there's no going back. (8/10)

11. "The Last Straw" (5:58) Whitesnake! Pure classic hair band rock song construct. Poor Fish! This is just not a good fit for him! Despite a cool middle section, this song has nothing to help me remember it. (8/10)

Total Time: 52:18

Never thought I'd like a Marillion song much less album--especially from the Fish-era--but here we have one. I guess anything is possible.

C/three stars; the best Marillion effort yet--though they are definitely going through an identity crisis. Who will they become?

I've been listening to Marillion's debut for years now, but I had never really connected to their other albums with Fish. Probably because I just don't like that eighties sound too much. 'Clutching at Straws' became my Covid-19 album last two weeks and I must say I was very much surprised by the maturity and the songwriting quality of this release! Especially when comparing it to the chaotic 'Fugazi' album. The sound of Marillion has bits of mid- seventies Genesis at its most symphonic and The Wall-era Pink Floyd. Sonicly you can hear the nineties just around the corner. Guitarist Steve Rothery impressed me a lot here with his frantic, yet melodic solo's that are sure to fire up the more intense moments even further. He is obviously influenced by David Gilmour, but manages to extend the symphonic blues repertoire with some original ideas. Marillion uses a lot of keyboards and synths, but never without creating interesting textures and distinct atmospheres. The band drenches the listener in an emotional journey - as is expected nowadays with neoprog - and the concept-album feel really works to the benefit of the songs here. Fish refrains from using his voice in the more extreme ways, perfecting his performance for a balanced and imaginative listening experience. The rocking 'Incommunicado' is the only song I don't fully like, because I don't like the sound of Marillion pumpin' the AOR at this dense level. On the other had, the band excels making great AOR / prog ballads like the haunting 'Torch Song' and 'Sugar Mice'. For me this is pretty much a perfect album and I'm guessing I will be giving 'Misplace Childhood' another listen as well - a record I felt disgusted by when first hearing it age seventeen.

It all comes down to 'Clutching at Straws' for what concerns greatness, pomp, and character in the Marillion catalogue. The final album with Fish is a seminal work of progressive rock that encompasses a wide arrange of styles, displaying all the creative quirks of the band, and allowing them to fully conquer the conceptual rock opera, if you ask me. The album oozes theatrics, and follows a sequence of eleven distinct songs, throughout which the band encapsulate all the best features of their music and present them in an exuberant fashion - the poetic wanderings of the early classic Marillion albums and the more streamlined pop and rock leanings heard on 'Misplaced Childhood', all reflected upon and perfected in some kind of symbiotic ingenuity.

What makes this album so good is the fantastic storytelling that goes perfectly well with the remarkable songwriting, as it seems the band has finally honed their craft and have taken their music even a step further from their breakthrough album coming two years earlier. While it would be infinitely difficult to pinpoint the highlights of such a masterpiece, songs like the opening track, 'Warm Wet Circles' and the pseudo-suite it forms with 'That Time of the Night', 'White Russian', 'Going Under', 'Torch Song', 'Sugar Mice', all of which are excellent exercises in crafting remarkably emotive, memorable, and virtuosic rock songs, leave a lasting impression upon the listener. This has to be among Marillion's most expansive-sounding albums, the production is rich, the playing is lively, and Fish's striking and manic vocals are the best they've ever been. 'Clutching at Straws' is a brilliant creative triumph and a most beautiful conclusion of a cult era for a band that has been divisive throughout its entire existence, to say the least.