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Fugazi - Marillion - Curtain Call (A Live Archive 1983-1988) (CD, Album)

This album is as impressive and important as things like 'In the Court of the Crimson King', 'The Dark Side of the Moon', and 'Close to the Edge', it is just released in a different time And what a time! Hotel Hobbies: Brilliant opener, setting a moody tone and incredibly evocative lyrics capturing the premise, Torch alone in a bar with his thoughts, with the music kicking into high gear as his thoughts turn dark, with a brilliant guitar solo.

Slows down at the end leading to Warm Wet Circles: Torch wanders through a scene of colorful characters, romancers, dreamers, and the lyrics are stunningly written to paint a vivid picture of the scene. Beautiful melody and shifts to minor from major, rocking harder, and just a perfectly self-contained song that is part of the bigger picture.

That Time of the Night: beautiful atmospheric guitar playing with a lyrical overture of sorts as the keyboards and drums slide along underneath, the bass urgently pounding. Then the keyboard melody begins, nicely capturing the feeling of a certain time of the night More beautiful lyrics from Fish. The chorus loudly proclaims Torch's feelings, that he hates where he's at, and wants to get away.

He pleads with the listener to come with him, find a way out, leading to a brief reprise of the pounding Warm Wet Circles theme. Going Under: not included on the original LP, I think this piece is essential to the overall work Marillion have made here. Having raged against his circumstances in the previous song, Torch takes a moment to reflect on himself, making sure he hasn't lost himself completely. It's short, lovely and well placed in the story.

Great soaring guitar work to complement the lyrics. Just for the Record: shift to a very upbeat in a nice fun time signature, the keyboard and guitar work is excellent here, interplaying with one another, weaving in and out effortlessly. The lyrics deal with Torch asserting he's going to stop drinking and change his life, with a perfectly written note of doubt at the end. The keyboard interlude is very Genesis, but forgivable on a record so perfectly original and written.

White Russian: the clear and powerful centerpiece of the album, coming appropriately at the center. Stemming from Fish's disgust for a rising Neo-Nazi movement in Europe and all they represented, the fury and anger couldn't be more evident in his performance and lyrics, with a pounding beat and sinister melody to drive the point all the way home.

Ends on a quiet note, of despair perhaps, as Torch gives in to the idea that he can do nothing to stop the things driving him to drink. All time brilliant prog song. Incommunicado: very upbeat charging song as Torch escapes from the things he hates.

The target now is celebrity musicianhood, and all the problems that come with that, as he kisses it all off and says he's going incommunicado. More excellent, top notch guitar and keyboard interplay here. Fish's vocal performance here is aggressive and exuberant at the same time. Really, all the musicians have reached their absolute peak with this album in every possible way.

Torch Song: a much slower, more thoughtful song as Torch again stops to collect his thoughts, drinking and wallowing more.

As much as this album sounds depressing when describing it, it's really quite invigorating. Spoken word from a doctor tells us Torch is literally drinking himself to death, and Torch himself finds this romantic.

Slainte Mhathe: a bright piano melody leads us into this song, a cryptic song that seems to be about trying to write, trying to create, and the thought process that that entails. More evocative imagery, but it's not immediately clear what happens in this song. Sugar Mice: An absolutely lovely penultimate song.

Torch is still lost, trying to figure out a direction, how to reorient himself. The chorus shows he has all but given up on the anger that once drove him. It doesn't matter who you blame, we're all just "sugar mice in the rain", only going to last so long. A gorgeous, soaring guitar solo from Rothery leads to Torch settling the blame for all this on himself after all, and seems to come to be at peace with it.

Tying all the themes together, Torch essentially sums up what he's learned, in extremely florid language of course: life is meaningless, humanity is inherent cynical and amoral, and nothing we do matters. Again, pitch black stuff here, but the delivery gives it something special.

If this is not an essential masterpiece of prog, I don't know what is. Pseudo Silk Kimono: good stage setting overture of sorts, minor key synth melodies, very pretty. All strong, good stuff.

Bitter Suite: This is where it always starts to fall apart for me. Atmospheric noodling is not really what Marillion is good at, so it's inclusion is fine, if puzzling. Then we get the music kicking in, spoken word lyrics VERY much seeming to be written on acid, then shifting to a sung portion about, something?

Then a reprise of the lavender melody with more wonderful imagery that just Look, the music and the instruments are all good, singing good, it's just like, all put together at random. Heart of Lothian: melody starts to pick up and kicks in for another upbeat rock song The Lamb Lies down is surreal and random but there was a narrative that held it together.

Waterhole: Side 2 kicks off with another minor key melody, sort of linking to Heart of Lothian, Fish doing his sort of "arch" vocal tic that brings a sinister edge. Lords of the Backstage: More upbeat rock with good musicianship and great imagery, serving nothing. It's great to listen to, but it also makes it all sort of feel like it runs together.

Blind Curve: Another long piece made up of a couple disconnected pieces. Good guitar solo from Rothery, strong work from all involved, but still seeming indistinct from the rest.

Childhood's End? Pretty good. White Feather: Pretty much continues from the last song, uplifting ending.

Perhaps this gets highly rated due to it's influence, but that shouldn't change the rating in my opinion. An influential album must also stand as excellent in it's own right, this one is good but not great.

In my opinion, Clutching at Straws is the true Marillion masterpiece, achieving what they tried to here on every level. Lifting aside, this is a very confident and self-assured debut album that shows serious talent and musicianship. The songs are all well composed and paced, with no one band member outshining any others.

Pete Trewavas does a good job of emulating classic prog bassists withOUT overt copying. Mark Kelly's keyboards are tasteful and well played. Lots of good guitar work from Steve Rothery. My personal favorite from the album is the Garden Party. Better things would be to come Although prog aficionados particularly those nostalgic of the Fish-era's Marillion may not find much to enthuse over this record, Anoraknophobia is an enjoyable album that flows away easily and pleasantly throughout its 64 minutes.

The songs contain plenty of melodic hooks, majestically delivered by an inspired Steve Hogarth, while the rest of the band build elaborate atmospheric soundscapes, where Mark Kelly's keyboards and Steve Rothery's ever so tasteful guitar licks are particularly noteworthy. In a few places, Marillion appear eager to experiment with modern sounds, like in the semi-rapped mid-section of "Quartz", in the sampled extravaganza of the rockier "Separated Out", or in "This Is the 21st Century", which is built around an insistent electronic drum loop that relegates Album) Ian Mosley to the background for most of the song.

But, for the most part, the band stick to the type of lush, expansive melodic pop-rock that has often characterized the Hogarth-era's Marillion.

In a few places, the album reaches high quality levels. The other tracks are pleasant, but do not reach the level of these three songs. And, in truth, there are a couple of songs that I tend to skip when I put on this album, like the poppy "Map of the World", which is plagued by a rather insipid chorus melody, or the long and repetitive "The Fruit of the Wild Rose", which builds and builds without ever reaching a satisfying climax.

Overall, Anoraknophobia does not reach the quality levels of other Marillion's masterpiece albums, like the follow-up releases Marbles, but it is certainly better than some of the band's weaker efforts, like the predecessor "Marillion. The rest flows away somewhat inconspicuously, but pleasantly enough to keep the listener interested and entertained for the most part.

Review by friso Prog Reviewer. This is a compilation that comprises tracks from three of their studio albums released in Marillion Fish's era. So, it only has no tracks from "Fugazi". But apart the tracks from those albums, it has also two non-album's tracks, "Lady Nina" and "Freaks" from the time of "Misplaced Childhood".

The lyrics are fantastic, very satiric, and represent one of the best Fish's lyrical performances. It was actually a mystery gig by the band but luckily it turned out to be a groundbreaking gig and was key calling card for the band's expansion to Germany.

The band just hired a new guy to look after the drum stools, Jonathan Mover on limited rehearsals. Well, one of my considerations to buy this set was actually I want to hear how Jonathan performed his duty. He played really well and different with Pointer or Mosley. Overall, the live performance sounds dynamic and interactive. Almost all breaks between tracks were fulfilled by Fish humorous about sex communication with the audience.

The live set opens with a bit of "Assassing" intro that continues to the intro of "He Knows You Know" with some words from Fish. Nice opening.

Jonathan's drumming work is really cool before Fish sings "Problems! Problems" - it sounds more dynamic than Mosley's style in La Gazza Ladra. In some segments Fish changed the lyrics to Germany.

At the end of the track he started the conversation with the audience "BTW. This will be rectified next year when the full European tour starts. It's a very warm opening. One thing that I like with this live set is the inclusion of "Three Boats from a Candy" that has never been included in previous release as far as my knowledge.

The other thing is "Assassing" that by the time of this performance was not released under FUGAZI album even though Fish did already mention the name of the album. The dazzling drum beats at intro by Jonathan was performed excellently. This version is a little bit different with the album version, especially Mark Kelly's punchy keyboard sounds. The percussion interlude used the single version.

It's probably by that time only this version was composed by the band prior to an album. The detail sounds of bass and guitar also different. I do enjoy listening to this version. Before the track starts, Fish made a long conversation with the audience about the song. This generation is supposedly an intelligent generation that has the rights and the know-how to say NO. This is our chance to say NO to the invasion of other people's land.

He continues :"This is a song that we as a band wrote about peace; especially peace. This is for peace of northern island. This is dedicated to us tonight. Drumming style is different with other live versions of the band. The solo keyboard is really nice and different. Overall, this version is much more dynamic and more symphonic compared to other versions of Forgotten Sons, even better than "Real to Reel" version.

Fish started again the conversation followed by "Market Square Heroes". This track was performed excellently with high energy by the band. The interlude is really amazing. One complaint that I have with this track is the backing vocal quality Pete Trewavas when he sings ".

Otherwise is excellent. Rothery's guitar is really rocking, followed by nice keyboard solo by Mark Kelly. Bass line is excellent. It seemed that Fish sung with his heart. This track has some problems with sound recording and technical glitches that make this live set much natural, with no overdubs.

It seems the original master tape has damaged especially at the end of the track minute Fugazi - Marillion - Curtain Call (A Live Archive 1983-1988) (CD It flows to "Incubus" with different and nice!

He talked, with his Scottish accent, about to whom the next track "Jigsaw" was dedicated. As I expected, the crowd sung "stand straight! At the end of "Jigsaw" Fish continues his long conversation with the crowd and answering the crowd's request for "Grendel". This will be rectified next year when the full European tour starts. It's a very warm opening. One thing that I like with this live set is the inclusion of "Three Boats from a Candy" that has never been included in previous release as far as my knowledge.

The other thing is "Assassing" that by the time of this performance was not released under FUGAZI album even though Fish did already mention the name of the album.

The dazzling drum beats at intro by Jonathan was performed excellently. This version is a little bit different with the album version, especially Mark Kelly's punchy keyboard sounds. The percussion interlude used the single version.

It's probably by that time only this version was composed by the band prior to an album. The detail sounds of bass and guitar also different. I do enjoy listening to this version. Before the track starts, Fish made a long conversation with the audience about the song. This generation is supposedly an intelligent generation that has the rights and the know-how to say NO.

This is our chance to say NO to the invasion of other people's land. He continues :"This is a song that we as a band wrote about peace; especially peace. This is for peace of northern island.

This is dedicated to us tonight. Drumming style is different with Album) live versions of the band. The solo keyboard is really nice and different. Overall, this version is much more dynamic and more symphonic compared to other versions of Forgotten Sons, even better than "Real to Reel" version. Fish started again the conversation followed by "Market Square Heroes".

This track was performed excellently with high energy by the band. The interlude is really amazing. One complaint that I have with this track is the backing vocal quality Pete Trewavas when he sings ". Otherwise is excellent. Rothery's guitar is really rocking, followed by nice keyboard solo by Mark Kelly. Bass line is excellent. It seemed that Fish sung with his heart. This track has some problems with sound recording and technical glitches that make this live set much natural, with no overdubs.

It seems the original master tape has damaged especially at the end of the track minute It flows to "Incubus" with different and nice! He talked, with his Scottish accent, about to whom the next track "Jigsaw" was dedicated. As I expected, the crowd sung "stand straight! At the end of "Jigsaw" Fish continues his long conversation with the crowd and answering the crowd's request for "Grendel". I'm extremely sorry, I'm very story" and some conversation jokes. It's called. I like this intro of the web because the keyboard is different than the studio version; it's little bit mellow and simpler.

Wonderful intro! Having done with "The Web" the band continues with the main menu of the concert: The A side of "Misplaced Childhood" album until the end of Disc 1. The five songs in this set was performed excellently by the band.

It's probably the band got used to the Hammy stage as stated by Pete Trewavas in the sleeve note: "It seemed in thosed days we played here all the time. The climax of this part is my all-time favorite "Heart of Lothian"; a wonderfully crafted song with tasty melody and great lyrics.

Unfortunately, Disc 1 is about to end so that the B side of Misplaced must be continued on Disc 2. Disc 2 kicks off with "Waterhole".

I like the vibes-like sound played by keyboard, I think than sounds so obvious in this version compared to studio or La Gazza Ladra version. There is a tendency that during this track the band almost lose control because of the fast tempo this track has.

Fortunately, it continues with slower tempo track "Lords of Backstage" and "Blind Curve". What a great track this one is. I just want to be free. I'm happy to be free. I'm happy to be lonely. Can't you stay away! Just leave me alone with my thoughts. I'm just to runaway. Having completed the whole "Misplaced" set Fish continues with his words "This is a song for a generation. It's for you and it's called Fugazi" and the intro starts "Vodka intimate.

This track is performed longer than the studio version. I like the exploration of bass line by Pete, guitar by Steve and keys by Mark. It's a very attractive live track. It's the best "Fugazi" the band has ever performed so far. I have some bootleg versions of Fish era; but the one in this set is much better: it's dynamic, energetic and much more rocking!

I like the part where Fish introduced the band members to the audience during the "Where are the prophets? It's very nice and I keep repeating this track. It's not just the way Fish sings to introduce each member, but the background music is really cool: symphonic in nature, stunning guitar, great keyboard and punchy bass line. The crowd then follows shouting "Where are the prophets? Oh boy. So dynamic, so lively! It seems I was in the middle of the crowd! As usual, the crowd shout together "I'm a market square heroes!!!!

Interlude was performed wonderfully starting at minutes where Fish invites the audience to dance together and giving instructions on what the audience should do.

The background music is great, Album) by keyboard backed with dazzling bass guitar and guitar fills. The solo bass guitar during Fish invitation to audience to dance "Yeah twist again.! Great concluding track! The difference is that this live set has incomplete "Misplaced Childhood". Venue wise, it seems Marillion had loyal and fanatic fan base in Italy.

I can sense it through the crowd participation even during the first track "Slainthe Mhath". The even react actively to Fish's conversation before "Assassing". Through this live set I Fugazi - Marillion - Curtain Call (A Live Archive 1983-1988) (CD feel the soul of live performance where the audience actively participated with the band. I like Fish conversation just before "White Russian" where he talked about the political conditions in the world; nothing has changed - like in Nicaragua, South Africa, El Salvador.

Where do we go from here, White Russian? What a great talks! It flows to the music of "White Russian". Personally, this is my favorite track of "Clutching at Straws" album. The ending part is really an ultimate climax: Racing the clouds home. We place our faith in human rights. It seems the crowd were die-hard fan of Marillion as they shout together the beginning part of "Fugazi".

Untitled - Yuki Kajiura - The Garden Of Sinners 2: Enquête Criminelle 1.0 (CD, Album), Sinners - Craig Richards - Fabric 01 (CD), Sweet Sixteen - Chuck Berry - MP3 Collection (CDr), Who We Were - Various - Toast Office Records Compilation 2013 (Cassette), Spit Like This - Dragged Kicking & Screaming (CD), The Answer Is Yes - Justus Köhncke - Doppelleben (CD, Album), Old Pond - Allen Ginsberg - First Blues (CD, Album), The Unforgiven - Metallica - As Requested By Hamburg - 4th June 2014 Live Imtech Arena (Vinyl, LP), Living In Da Ghetto (Lounge Remix), World - His Name Is Alive - Heart And Hand Box Set (CDr, Album), Toni Braxton - How Many Ways (Vinyl), Hubba Bubba Baby, Разговор - Various - Мелодии И Ритмы (Vinyl, LP), Anitras Dance - Grieg*, Slovak Philharmonic*, Libor Pesek* - Peer Gynt Suites Nos. 1 and 2 • Holberg, The Rendez Vous - Various - Tape Vol.2 (File, MP3)

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8 Responses to Fugazi - Marillion - Curtain Call (A Live Archive 1983-1988) (CD, Album)

  1. Dit says:

    Conclusion: "Early Stages: The Official Bootlegs " is an excellent box-set with great live performances from Marillion. It's an indispensable set of live shows from the band for all Marillion's fans, especially for Marillion's fans that particularly love the band in Fish's era, like me. However, it represents slightly differences.

  2. Dajind says:

    Conclusion: "Early Stages: The Official Bootlegs " is an excellent box-set with great live performances from Marillion. It's an indispensable set of live shows from the band for all Marillion's fans, especially for Marillion's fans that particularly love the band in Fish's era, like me. However, it represents slightly differences.

  3. Kajizragore says:

    Conclusion: "Early Stages: The Official Bootlegs " is an excellent box-set with great live performances from Marillion. It's an indispensable set of live shows from the band for all Marillion's fans, especially for Marillion's fans that particularly love the band in Fish's era, like me. However, it represents slightly differences.

  4. Vujora says:

    Conclusion: "Early Stages: The Official Bootlegs " is an excellent box-set with great live performances from Marillion. It's an indispensable set of live shows from the band for all Marillion's fans, especially for Marillion's fans that particularly love the band in Fish's era, like me. However, it represents slightly differences.

  5. Akinozuru says:

    The only FRC issue which was available to non-subscribers was the Curtain Call box set - this was the only FRC release of material before Steve Hogarth joined the band, and was sold via both Marillion and Fish's online stores, as well as being an optional FRC release. CD 1+2 (Volume A) recorded live Baunatal, Rundsporthalle, Germany, 1 October.

  6. Dajinn says:

    MARILLION Curtain Call - A Live Archive - reviews / from brandez.biz, the ultimate progressive rock website The other thing is "Assassing" that by the time of this performance was not released under FUGAZI album even though Fish did already mention the name of the album. The dazzling drum beats at intro by Jonathan was.

  7. JoJosho says:

    Even if it is an obscure greatest-hits or live compilation CD, we want to add it to the site. Please only submit official CD releases; no bootlegs or cassette-only or LP-only releases. EPs and CD-singles from Marillion are also welcome to be added, as long as they are at least 4 .

  8. Mazur says:

    Jul 31,  · Curtain Call: A Live Archive [Front Row Club], an Album by Marillion. Released in March on Racket (catalog no. FRC; CD). Genres: Progressive Rock/5(2).

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