Posts Tagged ‘Marillion’

The Friday Mixtape: All Souls Edition, 10/30/09

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Welcome back.

Are you feeling comfortable? Good. Right about now, you’re sitting casually in your seat, perhaps in a chair staring at the monitor, perhaps bundled up on the couch, wrapped in your Snuggie, your laptop buzzing on your lap with the warmth of its underside providing a pleasant sensation there. Occasionally the hard drive skitters and skates, trying to access some connection inside of this digital field of play.

And it is a field of play, don’t let it fool you otherwise. Take a good long look at the screen, for instance. Sure, your conscious, active mind sees black letters spelling out the very words you’re reading, but let your eyes haze a moment. Don’t think about meaning so much — just see the black squiggles on the expanse of white, amassed like battalions, one paragraph against another, staring each other down, preparing for the moment to bolt in attack, random “s” characters raising their swords against the myriad numbers of “m,” not to mention the machinations of those vowels, so kind to link consonants into those words that spill into your head as you read them but, as we well know, they are Machiavellian, yes they are. Those “A” “I” and “E” shapes poised to kill their counterparts, running headlong with a blood-curdling scream of  “Aiiiieeeeee!!”

You could almost hear that scream as you read it, that “Aiiieeeee…” couldn’t you? It’s amazing the information the brain fills in with the absence of a direct descriptor to clarify it. Take, oh, I don’t know, that voice in your mind as you’re reading. It sounds like your voice, has all the cadence and nuance of your voice and, even, those words you mispronounce in your regular day-to-day speech are mispronounced by the narrator in your mind, the one you think is you — but it’s not you. These are my thoughts, my words, and in truth, at this very moment, it is me who is in your head right now, telling this tale, pulling these strings. Are you wondering perhaps, how long have I been in here?

You should.

Are you feeling comfortable now? Good. Let’s begin.

Metamorphosis by David Eagleman, read by Jeffrey Tambor (2009)

Harvest Moon, Blue Oyster Cult from Heaven Forbid (1998)

Harvest Festival, XTC from Apple Venus Volume 1 (1999)

The Ethics Of Jokes by Garrison Keillor from Horrors! A Prairie Home Companion(1996)

Earth Died Screaming, Tom Waits from Bone Machine (1992)

Prelude, Bernard Herrmann from The Day the Earth Stood Still (1951)

Humanity Part II, Ennio Morricone from The Thing: Original Motion Picture Soundtrack (1982)

Through The Mirror, John Carpenter and Alan Howarth from Prince of Darkness (1987)

Fat Albert, Bill Cosby from The Best of Bill Cosby (1969)

Cold Colours, Neil Gaiman from Warning: Contains Language (1995)

The Hearts Filthy Lesson, David Bowie from Outside (1995)

Vampira, The Devin Townsend Band from Synchestra (2006)

Dark Carnival, Resurrection Band from Lament (1995)

Limbo, Rush from Test for Echo (1996)

The Invisible Man, Marillion from Marbles (2004)

…and we saved the best, scariest and spookiest track for last. It’s buried in the cobwebs, inch-depth dust and dark thickness of a dank, humid night. Beware of clicking on it just in case you’re weak of heart or fearful of mind, for it has the power to instigate nothing less than utter madness.

Happy Halloween!

CD Review: Marillion, “Less Is More”

lessThe dread that falls over a fan when they hear their favorite band is about to release a live album or an umpteenth greatest hits compilation is palpable. You didn’t get this far being a music appreciator without seeing the hints. Those releases often signal a way out of a contract, a quick fill in order to move on with the messy business and start looking for a new label or, worse, a way of shuttering a career. In the late 1980s and on into the ’90s, artists found new wine in the old skins of the back catalog by recasting those tunes in an acoustic setting. MTV’s Unplugged phenomena held strong for a period of time, but then everyone felt the need to pull out the guitar cable, settle on a stool (or a haybale if one was really trying to make things rustic) and acousticize the hits. And now, the acoustic album has fallen into that same chilly subgenre, the filler album category.

This brings us to Marillion’s latest offering, Less Is More, a collection of their songs spanning the years featuring vocalist Steve Hogarth, roughly 1989 to the present. A couple things to mention up front are that the acoustic arrangements are not a new idea as Hogarth, guitarist Steve Rothery and bassist Pete Trewavas often tour as the acoustic and abbreviated Los Trios Marillos. Also, while the band generally plies in the sound of electric rock/pop/prog, they’ve never been shy about turning off the power for recordings such as the 1997 release This Strange Engine, roughly half of which features acoustic instrumentation. Even so, one can’t help but feel this is a group who has been forced to wait for their muse and have made this album in the interim. (more…)

Bottom Feeders: The Ass End of the ’80s, Part 57

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Thanks for joining me for Bottom Feeders, where we take a look at approximately 20 songs each week that charted no higher than #41 on the Billboard Hot 100 chart in the ‘80s. We continue with artists whose names begin with the letter M, in our trek through the ass end of the decade.

Marillion
“Kayleigh” — 1985, #74 (download)

marillionAlthough I believe the album in which “Kayleigh” originates, Misplaced Childhood, is quite good, I never really got into Marillion. So let me instead direct you to their official website which not only is extremely well put together but gives you a wonderful look at the album from the makers themselves.

In a weird one, in May alone, my iPod shuffled to this song six times. So what, you say? Here’s the thing, I probably listen to my iPod on shuffle two hours every weekday — one hour at work and the 30 minute ride to and from work and I listened to the new Marilyn Manson record on that drive for a week straight. So I’m going to estimate that I’ve shuffled for 34 hours that month. I have 9,230 songs on my iPod. Given a generous 12 songs per hour that’s 408 songs played or just a little below 4.5 percent if every song was unique. And “Kayleigh” has come up a whopping six times! Meanwhile I have over 2,000 songs that haven’t ever been shuffled to once even though I’ve owned it for two years. Why this fascinates me, I don’t know, but it does.

Marshall Tucker Band
“It Takes Time” — 1980, #79 (download)

It may sound silly, but I like the Marshall Tucker Band if for no other reason than the fact that there is no one named Marshall Tucker in the band (and yes, as I edit this, this really does sound quite silly). According to their website, Marshall Tucker was actually the man that rented their home right before the band moved in. I’m about to move in the next year or so. I think I’ll leave my name around the house with hopes that the next person will be some aspiring doom metal guitarist with no name for his band. If you see a band from Pennsylvania popping up in the next few years called Electric Steed — I’m that guy!

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The Friday Mixtape: 6/12/09

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Editor’s note: This week’s mixtape has an inordinate amount of song edits. While the prog purists who prefer the full-length epics might take offense, we simply cannot post 12-or-so tunes at 13-plus minutes apiece (and two songs clocking in at a half hour each). We hope you’ll understand why we’ve done as we’ve done and then show your support to the bands below by buying their albums.

10cc – Une Nuit a Paris from The Original Soundtrack (1975)
Transatlantic – Duel With the Devil from Bridge Across Forever (2001)
Frost* – Milliontown (Ballad Edit) from Milliontown (2006)
Dream Theater – Finally Free from Metropolis Part 2: Scenes From a Memory (1999)
Kerry Livgren featuring David Pack – Ground Zero from Seeds of Change (1980)
GTR – When the Heart Rules the Mind from GTR (1986)
Fates Warning – A Pleasant Shade of Gray Part Six from A Pleasant Shade of Gray (1997)
Emerson, Lake & Palmer – Take a Pebble from Emerson, Lake & Palmer (1970)
Fish – A Gentleman’s Excuse Me from Vigil in a Wilderness of Mirrors (1989)
Genesis – Fading Lights from We Can’t Dance (1991)
King Crimson – Model Man from Three of a Perfect Pair: 30th Anniversary (1984)
Marillion – Whatever Is Wrong With You from Vol. 2—Happiness Is the Road: The Hard Shoulder (2008)
Wetton Downes – Let Me Go from Icon (2005)
Yes – Soon (from The Gates Of Delirium) from Relayer (1974)

“When you think cogs, think Cogswell Cogs!”

Dw. Dunphy On… Penguimania 2009, Set 2

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May is the unofficial start of the summer concert season, so to unofficially celebrate the shows of 2009, Popdose.com and internet radio station The Penguin have teamed up for Penguimania 2009. Tune in each Wednesday at 9:00 EST for Radioshow With Dw. Dunphy to hear the live performance megamix in full. Then each week we’ll present a downloadable MP3 of a set from the “concert.”

Set Two

The second set kicks off with Dream Theater covering the classic Elton John two-fer of “Funeral for a Friend/Love Lies Bleeding.” As originally found on the ubiquitous Goodbye Yellow Brick Road album, Dream Theater stays faithful to the original.

Marillion has, over the years, amassed a cult following that has spawned a whole series of official live recordings, lavish deluxe releases of their new albums and fan convention concerts known as the Marillion Weekends. Here is their live version of the standout track from the This Strange Engine album, “Estonia.”

The grand finale of Joe Jackson’s ambitious Night and Day album is the slow-burning lullaby, “A Slow Song.” This live performance of the song manages to top the original with a fantastic, building climax.

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We’ll see you here next week for set three and, don’t forget: you can enjoy the entire mix over at The Penguin, Wednesday nights starting at 9:00 PM EST: find it at www.thepenguinrocks.com.

Dw. Dunphy On… New Releases

We are now officially in the fourth quarter sales market. Department stores have begun to roll out the Christmas decorations, big summer movies are winding their way to the DVD department and some major releases in music are on the horizon for the all-important time in the retail year. It seemed appropriate, then, for me to discuss some of the most recent new releases in my headphones, one of which comes with a lot of expectation and another that exploded unbidden from out of the blue. Intrigued?

Ben Folds, Way to Normal (Epic)

I’ve been a fan of Folds’s work for a long time but find his solo efforts incredibly uneven. His last release, Songs for Silverman, was a leaden, ballad-heavy affair with very few tracks to really grab hold of. The latest, Way to Normal, should have been a return to form but only half succeeds. Sure, he regains a bit of his bounce and more than a bit of his bite, but the songs come from a sticky place: the dissolution of his third marriage, a relationship that informed most of his previous two albums. What you end up with is a lot of songs that make you feel like a friend has borrowed your ear for a while, relating to you how horrible that witch he used to be with has been. All the while, you have a sneaking suspicion that this friend is hardly as innocent as he claims.

I have no idea about the details of Folds’s personal life or how his marriage came apart. With semi-scathing tunes like “Bitch Went Nuts”, “Errant Dog,” and “You Don’t Know Me,” I frankly don’t want to know. Kiss-off and piss-off songs are common fodder in pop music, but they’re easier to take in smaller doses. They’re also easier on the ears when the production isn’t as abrasive as Dennis Herring’s. Tweedly-sounding synths, canned beat construction, occasional distortions that could be mistaken for blown speakers all attempt to frame the tunes in the most modern way, but become tiresome after a while. Worse, “You Don’t Know Me” employs the wonderful Regina Spektor and gives her nothing to really work with. Spektor, like Folds, has harnessed the power of solo voice and piano to great effect, so it’s really disappointing to find that anyone could have contributed her part on this song. (more…)

Dw. Dunphy On… Spring Cleaning

Mind if I freak you out here? Yes? Too bad; I have nothing else to write about. Well, that’s not entirely true. I have a lot to write about, judging by all the files I’ve put up on the handy-dandy Popdose FTP.

1) No, you cannot have access to the Popdose FTP.

2) I mean it, NO, you cannot have access to the Popdose FTP.

See, when you write for a forum such as this, you can overload yourself fairly early, clogging the works with all those notions you’d like to tackle, restraint be damned. Then life gets in the way and you find yourself getting all topical and current and, very quickly, your digital cabinets runneth over. So I think it is time to do a little spring cleaning, with an added bonus of providing outlet for democracy.

(Get to the point, damn it!)

There are a few candidates on my list that I’m just not going to get to. As much as I love the music from these artists, it just seems more and more unlikely that they’re going to get their day. That’s where you come in. Your petty little vote may not mean much when compared to a mighty Superdelegate, but it means something to me. I swear, and not just because I’m trying to get to second base with you. I’ve decided to give you a choice for whom I next tackle. Simply drop a comment with your choice from the following artists and the act with the largest popular vote gets an expanded column. It’s that simple, and you’ll respect yourself the morning after. And yes, you have lovely eyes.

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Popdose Interview: Ian Mosley of Marillion

I’m not exaggerating when I say that I’m a big fan of the band Marillion, although I came to be one in a roundabout way: finding a cassette tape of their concept album from 1985, Misplaced Childhood, in a cutout bin. By the time I had it, the synths had already dated the recording somewhat, but I listened obsessively anyway. In 1989, original lead singer and lyricist Fish struck out for solo territory and was replaced by Steve Hogarth. Hogarth’s voice added a new dimension to the band — he was suited for just about any material the band presented, and was able to give those songs a great pop feel.

While that would have made “H” the new guy, the position was once assumed by drummer Ian Mosley, who joined in 1984 for the band’s second album Fugazi. Now the band — Steve Rothery on guitar, Mark Kelly on keyboards, Pete Trewavas on bass, “H” at the microphone and Mosley behind the kit — is in full write/record mode for their fifteenth studio album. It is projected to be a double CD, lavishly packaged in a hardcover book in slipjacket, as was their 2004 entry Marbles, and funded primarily by pre-orders from ravenous fans. While the band may be only a blip on the radar in the US, their fans have been known to migrate to the UK from to attend the band’s convention/festival Marillion Weekend.

Popdose recently contacted the band via e-mail, and Ian Mosley took a moment away from the rigors of the creative process to answer a few questions about what’s happening with the group, with music in general, and with the state of the music professional in the up-for-grabs world of illegal downloading. (A side note: You will notice we have posted some MP3s from the band — in the interest of full disclosure, these examples are just that, examples, and have been cleared by the band through their communications manager Lucy Jordache. It is the intention of Popdose to expose new listeners to the music and, hopefully, compel them to buy the full albums.)

Now, on to the interview with drummer Ian Mosley! (more…)