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iluvmarillion View Drop Down
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Originally posted by lazland lazland wrote:

Originally posted by Catcher10 Catcher10 wrote:

Originally posted by Roj Roj wrote:

Fantastic performance by the guys at Manchester last night and a setlist to die for. Hogarth was in hilarious form. As well as Invisible Man, Neverland and Gaza they played This Strange Engine which was outstanding. Hogarth was out of this world during that emotional finale.

Interestingly the encores were as long as the main set!!!
 
Ughhhh!! I will never see these guys live I suppose, unless I go across the pond. I will get to see Pete w/Transatlantic in February. I will be holding a sign...."Pete, come back with the other boyz to Seattle!!" Big smile
I did ask the promoter of this show about getting Marillion......he said he would love to but the guarantee that Marillion would need is quite much. Cry

Yes, there is a big problem for you Jose. Actually, their policy in the UK is very similar, in that they will only play venues where they have a virtual guarantee of selling out and getting a return on the considerable investment of touring.

Whether we like it or not, the band do not have a major record label or mass following any more. It is a cottage industry, albeit a rather successful one. They simply cannot afford to play in places where they cannot get a return.

Interestingly, this is one of the reasons Tony Banks gave when asked why he pulled the plug on Genesis post-Collins. Smaller venues on that tour with Ray Wilson, and empty seats in some of those smaller venues. He felt it wasn't worth carrying on.

Steven Wilson recently toured down here along the east coast of Australia, one night only at small venues in each capital city. Packed each venue and I suspect, tour would have broken even with the receipts matching his expenses to tour. Don't see why Marillion couldn't do the same as there is a strong Marillion fan base here in Australia. Point is to boost sales of Marillion records by increasing exposure to other markets, not just England and Europe.
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^ Well Marillion do come to the US on occasion...but only large cities like Los Angeles, San Francisco, Chicago, NY.....Cities like Seattle with only 3-4 million I guess is not enough to warrant a stop over.
 
It is always about money now...I don't want to get into the reasons why but I am sure the digital age/internet has not helped.
I am on a quest to buy all their vinyl issues, I have a few more to go in the H era then will force (sorry) myself to buy the Fish era vinyl...but I do want them. Smile
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Originally posted by Catcher10 Catcher10 wrote:

^ Well Marillion do come to the US on occasion...but only large cities like Los Angeles, San Francisco, Chicago, NY.....Cities like Seattle with only 3-4 million I guess is not enough to warrant a stop over.
 
It is always about money now...I don't want to get into the reasons why but I am sure the digital age/internet has not helped.
I am on a quest to buy all their vinyl issues, I have a few more to go in the H era then will force (sorry) myself to buy the Fish era vinyl...but I do want them. Smile
I actually think in some respects the digital aid/Internet has actually helped touring. Don't forget that Marillion were the kings of crowd-funding before Kickstarter was even a thing, and have used that to - guess what? - fund tours in America.

The big advantage concerts have over CDs is that you can't perfectly replicate them over the Internet; you can download an album in a lossless format which will sound precisely the same as it did off the CD (or, indeed, in some lossy formats at a sufficient bitrate that your ears just won't notice the differences 99.99999% of the time), but you can't download the experience of actually being there and seeing a band live. Yes, CDs and other merchandise are an important income stream on a tour, but if the CD sales on tour are making the difference between your concert tour making a profit or taking a loss then the tour is probably a risk not work taking unless it's meant to support other income streams rather than being something you make a living off.

Let's not forget that Marillion aren't hobbyists, they're full time musicians, and without careful management of their investments and judging where to go for their concerts and so forth they wouldn't get the revenue that enables them to do all those side projects we know and love.
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The internet and music is a dbl edged sword....I actually suggested to the promoter here in Seattle to look at a presale event....Tickets would probably be in the $75-85 range which is fine by me.
He has brought to Seattle Neal Morse, Transatlantic and Ajalon.....hoping he can add Marillion to his list someday.
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Originally posted by Catcher10 Catcher10 wrote:

The internet and music is a dbl edged sword....I actually suggested to the promoter here in Seattle to look at a presale event....Tickets would probably be in the $75-85 range which is fine by me.
He has brought to Seattle Neal Morse, Transatlantic and Ajalon.....hoping he can add Marillion to his list someday.

A presale event sounds like a great idea.Good luckApprove
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I know I should have posted this before, but the setlist for the gig at Manchester last week was:-

The Invisible Man
Beautiful
Sounds That Can't Be Made
Somewhere Else
An Accidental Man
Power
This Strange Engine

Encore 1:
Mad
Neverland

Encore 2:
Gaza
Sky Above The Rain
Sugar Mice

See what I mean about the length of the encores, almost as long as the main set Wink.
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Originally posted by Roj Roj wrote:

I know I should have posted this before, but the setlist for the gig at Manchester last week was:-

The Invisible Man
Beautiful
Sounds That Can't Be Made
Somewhere Else
An Accidental Man
Power
This Strange Engine

Encore 1:
Mad
Neverland

Encore 2:
Gaza
Sky Above The Rain
Sugar Mice

See what I mean about the length of the encores, almost as long as the main set Wink.
Wow, nice set, plenty of epics! Can never complain about Invisible Man and Neverland. Sky Above the Rain has quckly become one of my favorites from them; really happy to see it in Montreal at this past year's Weekend.
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Sorry to butt in here but I just bumped up my Marbles rating to 5 stars. The reason being I always had the single disc until late last year when the double disc was re-issued and to be honest I didn't give it the proper listening time until recently and have become blown away. That Ocean Cloud track especially that wasn't on the single disc version moved me like I haven't been moved in a long time. Just wow.
"The wind is slowly tearing her apart"

"Sad Rain" ANEKDOTEN
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I hate to say it but after all these years I'm still kind of new to Marillion. I love or at least like most of what I've heard but my collection is very, very spotty. 
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Marbles is the record that really got me into the band. The 2 disc is an absolute necessity, as it has a much different feel and the inclusion of Ocean Cloud is a huge plus.

The only song I never liked was Angelina...
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Mellotron Storm View Drop Down
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Originally posted by Progging Progging wrote:

Marbles is the record that really got me into the band. The 2 disc is an absolute necessity, as it has a much different feel and the inclusion of Ocean Cloud is a huge plus.

The only song I never liked was Angelina...
 
Your right, but when I ordered mine originally which was at least a couple of years after it came out the only version I could find new was the single disc. I kept hearing about Ocean Cloud so it was frustrating at the time. I'm actually surprised they even released it as a single disc at all because it's such a step down from the double.
"The wind is slowly tearing her apart"

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genbanks View Drop Down
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Well, Marillion...when I listened them at first, was somehting great!, being a Genesis hardcore fan of all their eras, Marilllion sounded then as the perfect musical solution. The first era, with Fish and even with Seasons End, is the best, and Script is the best album they ever made, perfect. One of the things that they lost (a shame) is the preponderance of Mark Kelly in the keyboards, a very underrated musician. This master was little by little getting behind, and after Seasons end, he was definitely behind, and with him the music a bit downhill. With Hogarth, they have very good things, but not as an album (with the exception of Seasons End, a great album). They became much repetitive, lacking of instrumental sections and many times uninspired. My best songs

All Script for a Jester's Tear (exception of Chelsea monday)
Grendel, Market square, Charting the single, boats than the candy
Assasing, Incubus, Jigsaw, Fugazy, Punch and Judy
Almost all Childhood End (Blind curve, what a track)
Slaintemath, Hotel hobbies and At that time of the night, Only for the record (the key solo)
King of sunset town, Easter (superb), Seasons end, The space
Cover my eyes, The party, Waiting to happen, This strange engine, Brave, The great escape.., Interior Lulu (some sections), Don't hurt yourself, You're gone, Wrapped up by time, When I meet good.
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Originally posted by genbanks genbanks wrote:

Well, Marillion...when I listened them at first, was somehting great!, being a Genesis hardcore fan of all their eras, Marilllion sounded then as the perfect musical solution. The first era, with Fish and even with Seasons End, is the best, and Script is the best album they ever made, perfect. One of the things that they lost (a shame) is the preponderance of Mark Kelly in the keyboards, a very underrated musician. This master was little by little getting behind, and after Seasons end, he was definitely behind, and with him the music a bit downhill. With Hogarth, they have very good things, but not as an album (with the exception of Seasons End, a great album). They became much repetitive

Well, there speaks a man who obviously has heard no albums since Season's End.

In particular, the last three albums have had Kelly at their beating heart. He was hardly quiet before that, either.
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Originally posted by lazland lazland wrote:

Originally posted by genbanks genbanks wrote:

Well, Marillion...when I listened them at first, was somehting great!, being a Genesis hardcore fan of all their eras, Marilllion sounded then as the perfect musical solution. The first era, with Fish and even with Seasons End, is the best, and Script is the best album they ever made, perfect. One of the things that they lost (a shame) is the preponderance of Mark Kelly in the keyboards, a very underrated musician. This master was little by little getting behind, and after Seasons end, he was definitely behind, and with him the music a bit downhill. With Hogarth, they have very good things, but not as an album (with the exception of Seasons End, a great album). They became much repetitive

Well, there speaks a man who obviously has heard no albums since Season's End.

In particular, the last three albums have had Kelly at their beating heart. He was hardly quiet before that, either.

Hi, I heard these albums, maybe not in all the detail, and I don't see Kelly as you say, but maybe is a different kind of perception. It is true that I was not listened the last albums, Less is more and Sounds that can't be made, and not much from Happiness is the road and Somewhere else, this last almost unlistenable for my taste.

By other way few months ago I've purchased an album of Dee Expus, just because I saw Mark Kelly between the keyboardists, and that's the way in wich I would like to hear him, simply great.


Edited by genbanks - November 23 2013 at 14:53
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Originally posted by Mellotron Storm Mellotron Storm wrote:

Sorry to butt in here but I just bumped up my Marbles rating to 5 stars. The reason being I always had the single disc until late last year when the double disc was re-issued and to be honest I didn't give it the proper listening time until recently and have become blown away. That Ocean Cloud track especially that wasn't on the single disc version moved me like I haven't been moved in a long time. Just wow.
Yeah, as good a job as the band did of trimming the double disc version down to the single disc (in particular, I'm so glad they kept The Invisible Man and Neverland on both versions, because they're such incredible openers and closers), at the same time Marbles without Ocean Cloud doesn't feel like Marbles to me.

I can only assume they put out the single disc version because someone at some point in the chain from them to distributors to the music stores were twisting their arm. I can sort of see the justification for vinyl (the vinyl version of the single disc is a double album in itself and to put out a vinyl version of the 2CD edition would require some sort of monster boxed set), but otherwise I consider the 1CD version a sampler for the full banquet.
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Originally posted by lazland lazland wrote:

Originally posted by genbanks genbanks wrote:

Well, Marillion...when I listened them at first, was somehting great!, being a Genesis hardcore fan of all their eras, Marilllion sounded then as the perfect musical solution. The first era, with Fish and even with Seasons End, is the best, and Script is the best album they ever made, perfect. One of the things that they lost (a shame) is the preponderance of Mark Kelly in the keyboards, a very underrated musician. This master was little by little getting behind, and after Seasons end, he was definitely behind, and with him the music a bit downhill. With Hogarth, they have very good things, but not as an album (with the exception of Seasons End, a great album). They became much repetitive

Well, there speaks a man who obviously has heard no albums since Season's End.

In particular, the last three albums have had Kelly at their beating heart. He was hardly quiet before that, either.
Not just the last three, I'd say - could you imagine The Invisible Man off Marbles without Kelly? You'd rip the guts out of it.
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Originally posted by genbanks genbanks wrote:

Well, Marillion...when I listened them at first, was somehting great!, being a Genesis hardcore fan of all their eras, Marilllion sounded then as the perfect musical solution. The first era, with Fish and even with Seasons End, is the best, and Script is the best album they ever made, perfect. One of the things that they lost (a shame) is the preponderance of Mark Kelly in the keyboards, a very underrated musician. This master was little by little getting behind, and after Seasons end, he was definitely behind, and with him the music a bit downhill. With Hogarth, they have very good things, but not as an album (with the exception of Seasons End, a great album). They became much repetitive, lacking of instrumental sections and many times uninspired. My best songs

All Script for a Jester's Tear (exception of Chelsea monday)
Grendel, Market square, Charting the single, boats than the candy
Assasing, Incubus, Jigsaw, Fugazy, Punch and Judy
Almost all Childhood End (Blind curve, what a track)
Slaintemath, Hotel hobbies and At that time of the night, Only for the record (the key solo)
King of sunset town, Easter (superb), Seasons end, The space
Cover my eyes, The party, Waiting to happen, This strange engine, Brave, The great escape.., Interior Lulu (some sections), Don't hurt yourself, You're gone, Wrapped up by time, When I meet good.

I read the review you posted for "We Can't Dance" and pretty much agreed with every thing you wrote except for your rating of 4 stars (mine would be closer to 3 stars). However, I don't understand your interpretation of the post "Seasons End" Marillion albums. You embrace the pop elements of the post Gabriel Genesis albums, but reject those same elements in the Hogarth Marillion albums. I personally don't find anything repetitive in the latter Marillion albums.
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Originally posted by iluvmarillion iluvmarillion wrote:

Originally posted by genbanks genbanks wrote:

Well, Marillion...when I listened them at first, was somehting great!, being a Genesis hardcore fan of all their eras, Marilllion sounded then as the perfect musical solution. The first era, with Fish and even with Seasons End, is the best, and Script is the best album they ever made, perfect. One of the things that they lost (a shame) is the preponderance of Mark Kelly in the keyboards, a very underrated musician. This master was little by little getting behind, and after Seasons end, he was definitely behind, and with him the music a bit downhill. With Hogarth, they have very good things, but not as an album (with the exception of Seasons End, a great album). They became much repetitive, lacking of instrumental sections and many times uninspired. My best songs

All Script for a Jester's Tear (exception of Chelsea monday)
Grendel, Market square, Charting the single, boats than the candy
Assasing, Incubus, Jigsaw, Fugazy, Punch and Judy
Almost all Childhood End (Blind curve, what a track)
Slaintemath, Hotel hobbies and At that time of the night, Only for the record (the key solo)
King of sunset town, Easter (superb), Seasons end, The space
Cover my eyes, The party, Waiting to happen, This strange engine, Brave, The great escape.., Interior Lulu (some sections), Don't hurt yourself, You're gone, Wrapped up by time, When I meet good.

I read the review you posted for "We Can't Dance" and pretty much agreed with every thing you wrote except for your rating of 4 stars (mine would be closer to 3 stars). However, I don't understand your interpretation of the post "Seasons End" Marillion albums. You embrace the pop elements of the post Gabriel Genesis albums, but reject those same elements in the Hogarth Marillion albums. I personally don't find anything repetitive in the latter Marillion albums.

Well, thanks, but maybe I'm being misunderstood (is the correct verb time?). I do  not criticising the prog character of Marillion, I'm not saying that they've being turned to pop or brit pop or nothing like this, simply is that in my taste, they sound to me a bit repetitive, just like for others maybe Genesis or other band could sounds repetitive too. It's a matter of taste. For example, Holydays in Eden,  I like it much (not all the album), and is mainly pop. After that they returned to a less commercial sound, and for me they have great things (I've listed some songs that I like much). But is not the kind of music that I like more. When I talk about Kelly, I'm talking about keyboards not only as a companion or support, but as solos or more prominence. As I said before, I have listened him doing something different in  King of number 33 of Dee Expus and I like it much. Marillion is prog rock, before and now, and as an integral work, they are more prog than Genesis, that is true, but other thing is my taste. I love prog rock, is the music that I like and buy, but I don't like everything about prog rock. Hope you understood me.
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Originally posted by genbanks genbanks wrote:

Originally posted by iluvmarillion iluvmarillion wrote:

Originally posted by genbanks genbanks wrote:

Well, Marillion...when I listened them at first, was somehting great!, being a Genesis hardcore fan of all their eras, Marilllion sounded then as the perfect musical solution. The first era, with Fish and even with Seasons End, is the best, and Script is the best album they ever made, perfect. One of the things that they lost (a shame) is the preponderance of Mark Kelly in the keyboards, a very underrated musician. This master was little by little getting behind, and after Seasons end, he was definitely behind, and with him the music a bit downhill. With Hogarth, they have very good things, but not as an album (with the exception of Seasons End, a great album). They became much repetitive, lacking of instrumental sections and many times uninspired. My best songs

All Script for a Jester's Tear (exception of Chelsea monday)
Grendel, Market square, Charting the single, boats than the candy
Assasing, Incubus, Jigsaw, Fugazy, Punch and Judy
Almost all Childhood End (Blind curve, what a track)
Slaintemath, Hotel hobbies and At that time of the night, Only for the record (the key solo)
King of sunset town, Easter (superb), Seasons end, The space
Cover my eyes, The party, Waiting to happen, This strange engine, Brave, The great escape.., Interior Lulu (some sections), Don't hurt yourself, You're gone, Wrapped up by time, When I meet good.

I read the review you posted for "We Can't Dance" and pretty much agreed with every thing you wrote except for your rating of 4 stars (mine would be closer to 3 stars). However, I don't understand your interpretation of the post "Seasons End" Marillion albums. You embrace the pop elements of the post Gabriel Genesis albums, but reject those same elements in the Hogarth Marillion albums. I personally don't find anything repetitive in the latter Marillion albums.

Well, thanks, but maybe I'm being misunderstood (is the correct verb time?). I do  not criticising the prog character of Marillion, I'm not saying that they've being turned to pop or brit pop or nothing like this, simply is that in my taste, they sound to me a bit repetitive, just like for others maybe Genesis or other band could sounds repetitive too. It's a matter of taste. For example, Holydays in Eden,  I like it much (not all the album), and is mainly pop. After that they returned to a less commercial sound, and for me they have great things (I've listed some songs that I like much). But is not the kind of music that I like more. When I talk about Kelly, I'm talking about keyboards not only as a companion or support, but as solos or more prominence. As I said before, I have listened him doing something different in  King of number 33 of Dee Expus and I like it much. Marillion is prog rock, before and now, and as an integral work, they are more prog than Genesis, that is true, but other thing is my taste. I love prog rock, is the music that I like and buy, but I don't like everything about prog rock. Hope you understood me.

I do understand you. Try, though, to take a bit of a hint from someone who has listened to prog and classic rock for the best part of 40 years now.

It really doesn't matter whether the music is prog, or not. If you enjoy it, it is good music. I, for example, love Fleetwood Mac (especially the Buckingham & Nicks version). Not remotely prog, but damned good stuff.

The fact that Marillion are "more prog than Genesis" (even if true, which I would dispute), is neither here nor there. I happen to adore both, and all phases at that. I hate the snobbery that many here display when talking about.......gasp.....commercial musicShocked

In terms of your original point, one of the reasons why people on this thread love Marillion so much is that it is a collective effort. Without any of the five protagonists, the finished product would be greatly diminished. The material is all truly a group effort, wrought by hard work and group effort. Actually, that is also true of three man Genesis after Duke, far more than the Gabriel eraWink
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Now also broadcasting on www.progzilla.com Every Saturday, 4.00 p.m. UK time!
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I like Marillion because the music and lyrics are brilliant!
 
My post Thanksgiving Dinner listening session will start now.....with this
 
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