fan club releases

REVIEW: Marillion – Baubles – Christmas 2004

MARILLION – Baubles – Christmas 2004 (2004 Racket Records)

And now we have arrived at the worst Marillion “Christmas” album. There had to be one, didn’t there? Unusually for a Christmas CD, this one contains almost zero seasonal content. Which, you know, that’s no so bad in and of itself. Unfortunately, the 2004 Christmas CD is all remixes.

Marbles-era Marillion went a little remix-happy.  They had singles remixes.  They had a fanmade remix album (Remixomatosis) with a bonus CD of also-rans.  They had a 12″ promo single under the band name “Remixomatosis” with even more remixes.    And for the diehards who had a fanclub subscription, the annual holiday album was choked with nine more of these fanmade remixes.

The only Christmas content is the usual “Christmas Message”…which is, due to the unavailability of the band, just a remix of previously recorded Christmas messages.  Amusing?  Yes.  Disappointing?  Indeed.

The liner notes explain that Marillion received over 500 remixes from fans, and Remixomatosis represented the winners as voted for from the band.  Baubles, then, are the best of the rest.  It starts well enough, with the “Ordnance Survey Mix” of the excellent song “Map of the World”.  This one is decent because it doesn’t just mix in more drum loops, but oodles and oodles of string arrangements.  It’s “Map of the World” reimagined for strings, but unfortunately suffocating some of the regal vocal melodies in exchange.

Next is the “Demystified Mix” of “This is the 21st Century”, which begins by reducing everything to basic piano and percussion, and then adds the bass and accoutrements.  The chorus has a strange floaty quality.  Then the “2.5 Hearts in the Groove Mix” of “Fruit of the Wild Rose” is like coming down into the mud.  Very little of the original song remains, drowned by lofty beats and bass.  The funky chorus is good but the rest loses the plot too much.

“Number One” is a cool song for remixing, and this one is interesting.  Fast synth and beats turn it into something new, a pounding dark dance number.  They call it the “Whatever Mix” but it’s better than the name suggests.  It blends seamless into the “No Monsters Remix” of “If My Heart Were A Ball It Would Roll Uphill”, which doesn’t leave much of the original song intact.  I would have called it the “Boring Disco Remix”.  Moving on, “When I Meet God” is still recognizable in form of its “Ontological Mix”, with changes made to the guitar and drums.  It’s a good alternate mix to the original.

The “Latino Freak Mix” of “Separated Out” is surprising.  Taking the heaviest song on the album and making it into a mambo?  OK, I’ll give you points for that.  It’s not my cup ‘o hot chocolate, but to each their own.  The normally wonderful single “Between You and Me” is put into a laid back snooze on the “Martini Mix”, a failed (if jazz) experiment.  Finally the CD gratefully closes on the “Hard Time Mix” of “Quartz.  That aptly describes how it feels listening to this whole CD front to back.

1.5/5 stars

REVIEW: Marillion – Say Cheese! Christmas With Marillion (2003)

MARILLION Say Cheese! Christmas With Marillion (2003 Racket Records)

The 2003 edition of the annual Marillion Christmas CD featured a front cover picturing the guys lounging in their pajamas, lazily smoking pipes.  These discs are usually pretty loose assemblies of song, and it looks like Rothery is already into the wine.

The annual Christmas message is first; this time they just want to wish you a lovely Christmas and a happy, happy New Year.  Onto the music!  “Stop the Cavalry” is considered a Christmas song in the UK, and Marillion’s is hastily assembled with keyboard samples covering most of the instruments.  There are plenty of jingle bells to keep things seasonal-sounding.

“Seasons End” begins with “O Come O Come Emmanuel” as if often does, morphing it into an original seasonal song.  This live version comes from a 2002 Christmas tour, as released on a DVD called Christmas in the Chapel.  It was never released on CD, so this is the only physical CD you can get with any of it.  Expect the usual mindblowing weightiness.  From the same show, they also perform the carol “Gabriel’s Message”, dark and gothic.  “Stille Nacht” (“Silent Night”) is a capella from a German Christmas show, and it is beautiful.  Finally Marillion and the Racket Records folks have their way with “The 12 Days of Christmas”, modifying the words for their own needs.  As usual, the song wears thin fast.

There’s non-seasonal material too, which is often the case.  “I’m the Urban Spaceman” (The Bonzo Dog Doo-Dah Band cover) is a Steve Hogath home demo, dating back to ’96.  This rarity is originally from a Hogarth solo EP, a neat curiosity.

“Neverland” was brand new; the Marbles album was still fresh and this would have been some of the first live material available from it.  It’s a full-on 10 minute epic, performed with professional passion.

These Marillion Christmas albums usually have one seasonal song and then a bunch of rarities.  In 2003 at least they included a few extra seasonal tunes and carols to make it feel like you’re actually listening to a Christmas CD.  These being fan club discs, it’s hard being too critical.  This one was fun, with only “The 12 Days of Christmas” to annoy you.

3.5/5 Christmas stars

REVIEW: Marillion – marillion.christmas (1999)

MARILLION – marillion.christmas (1999 Racket Records)

The second Marillion Christmas CD was sent out the year of marillion.com, a pretty good if misunderstood experimental studio album.  Marillion began to incorporate elements such as dub and loops.  They were also getting the hang of this special fanclub Christmas CD idea.  Where the first was a mixed bag, the second is one of the their best.

Opening with a hauntingly beautiful “Gabriel’s Message”, the mood is set.  Steve Hogarth’s enviable golden pipes are front and center.  Heavier instrumentation begins to ebb and flow halfway through, and a cool carol is ended.  If you think Trans-Siberian Orchestra is cool, you’re going to love this.  It’s better.

Let the rarities commence, with the single edit of “The Answering Machine” from Radiation, unavailable on commercial CD.  Still an enjoyable song, with its cacophony of noise and keyboards lending it a unique progressive flavour.  The next two songs are real treats.  “Interior Lulu” and “Tumble Down the Years” were both recorded for Radiation, but held back for marillion.com because they didn’t quite fit.  For the first time, the Radiation mixes are included here.  (Not for the last time, as Marillion soon issued extensive “making of” albums for their later catalogue.)  If Radiation had included them, it would have been a far more mellow album.  Both tracks are quite different from the final versions.  “Tumble Down the Years” has a more rock and roll vibe.

Up next, a “Technopop Remix” of “Memory of Water”, a runner up for the “Big Beat Mix” that went out for CD singles and bonus tracks.  It’s not as iconic, and never really sounds like Marillion the way the “Big Beat Mix” does, and it’s far too long (10:02).  There are then three acoustic tracks:  “Abraham, Martin and John”, “Runaway” and “Estonia” originally done for a cancelled French EP.  You can find acoustic versions from this period on the album Live From the Walls, but these ones sound properly recorded in a studio.  “Abraham, Martin and John” is so good it will bring tears to your eyes.  An absolute treasure.

Hey remember on the 1998 CD, when Marillion included some instrumental “Karaoke” versions for a contest?  One of the winners is on this CD, the Cradley Primary School’s lovely version of “Beautiful” (the Dave Meegan mix).  They must have had some cool teachers at that primary school!  It’s pretty cool hearing the kids singing those words.

Heaven only knows that we live in a world,
Where what we call beautiful is just something on sale.
People laughing behind their hands,
While the fragile and the sensitive are given no chance.

Finally, the annual Christmas message from the band is placed at the end of the CD instead of the start.  They’re not as goofy (or drunk) on this instalment, as they run through the tracks and wish us all a Happy Christmas.  Thanks, guys!

4/5 stars

 

 

REVIEW: Marillion & the Web Christmas 1998 – Happy Christmas Everybody!

MARILLION – & the Web Christmas 1998 – Happy Christmas Everybody! (1998 Racket Records)

Marillion have always been a fan-friendly band, offering up special rarities for the most dedicated.  In 1998, fan club members received the very first Marillion Christmas CD.  It’s one of the least satisfying of what turned out to be a long-running proposition, but since it was the first, we’ll let it slide.  At just 30 minutes, Happy Christmas Everybody is also the shortest.  Most of the music consists of “Karaoke mixes” for a contest they were running.  Record your own vocals, send it in, and win!

The first-ever “Christmas Message” track from Marillion explains the origin of the CD, as the guys crack up themselves in the background.  This is mixed into “The Christmas Song”, a festive version of “We Wish You a Merry Christmas” by Marillion.  (A standalone song would have been better.)

Exciting at the time, the next tracks are excerpts from the next Marillion album, marillion.com.  Hey, it was 1998, what are you going to do?  Jethro Tull had an album called J-tull.com.  Regardless of the title, this CD had sneak previews of “Interior Lulu” (two snippets) and “Tumble Down the Years” from the next album.  The mixes are not the final ones from the album, which is interesting to fans, but they’re so damn short.  They’re also samples of very mellow sections of songs, which may (or may not) have given false impressions of the new album.

The four Karaoke mixes are all but full length, with one done by Marillion producer Dave Meegan himself.  The instructions are so quaint.  “We’re inviting you all to make tapes!”  Tapes!  Just mail them in!  It’s a little odd to hear landmark pop rockers like “Cover My Eyes” without the massive hook of the lead vocals!  All you get for vocals are some backing tracks on the chorus.  Fabulous drums on that track, by the way Mr. Mosley.  “No One Can” is cool because you can hear the backup instrumentation a lot more without the syrupy singing.  “Beautiful” is the one by Dave Meegan, and as such it’s the most listenable.  He mixed in new elements, making it more like an interesting instrumental arrangement.  The more recent “These Chains” is probably the least appealing of the Karaoke songs due to its minimalist approach.

We’ll cut Marillion some slack.  It was the early days, their first Christmas CD, and the exclusive mixes are appreciated even if the album previews are not.  There aren’t any really usable Christmas songs on this album, a problem they’d fix next time out.

2/5 stars

 

#800: It’s Beginning to Look Like Marillion Christmas

GETTING MORE TALE #800:
It’s Beginning to Look Like Marillion Christmas

Immediate apologies to probably a large percentage of readers.  There are two kinds of people:  those who like Christmas music, and those who do not.  Those in the “not” category will probably be dropping in droves this December, as I announce the latest review series here at mikeladano.com.

It’s an interesting matter of fact, but Marillion have a total 15 Christmas themed albums.  That’s an incredibly large number!  Most were only available (for free) to fans of the Marillion Web fan club.  Over the last few Christmases, I’ve reviewed a number of them (linked below).  In 2019, I finally acquired the only two I had been missing.  I didn’t get into Marillion early enough to get the first two, but I was on board by the third.  Now, two decades later, I decided to bite the bullet and pay Discogs prices, which were not all that bad ($30 US each).  And now I have them all!

For a short while, Marillion switched from releasing Christmas albums to Christmas DVDs, which I do not collect.  In 2014, CDs resumed for a short additional run.

  • Chile for the Time of Year (2014 – Webfree 17)
  • A Collection of Recycled Gifts (2014 – Compilation with new Christmas material)
  • Christmas Tour 2014 – Live at the Forum (2014 Abbey Road “instant live”)
  • A Monstrously Festive(al) Christmas (2015 – Webfree 18)

Now that I actually have them all, I’d like to get them all reviewed too.  After all, I can really only do that kind of thing once a year — in December.  Starting with Webfree 1, I’m going to work my way down the list.  And if this doesn’t interest you at all, that’s cool.  I get it.  That’s the thing about personal projects.  This is more about me than you, I’m afraid.  But there’s plenty of reason for you to stick around, too.  Many of these Marillion “Christmas” albums have minimal Christmas content.  Chile for the Time of Year? That’s just, flat-out, a double live album.  It was recorded in May!  It boasts some of Marillion’s best known songs (“Kayleigh”, “Easter”, “Cover My Eyes”), and also a number of key later progressive epics (“Gaza”, “Ocean Cloud”, “Neverland”).  If it were not one of their annual Christmas fanclub freebies, it would fit in any other time.

If you’re a diehard, or just remotely curious about Marillion, I’ve done my best to write for both of you.  These CDs are going to expose to you to variety of Marillion songs.  Hits, deep cuts, and stuff you never heard of before.  And you won’t find a series this detailed anywhere else.

As I buckle in for what looks to be a chilly season, I wish you all the very Merriest of Christmases.  It matters not if you celebrate it.  As the world pauses together this season, I hope you have nothing but warmth and happiness in your life.  Perhaps a hot drinky-poo or a pipe by the fire is all you desire.  Might I recommend a Marillion Christmas to nail the vibe just right?

REVIEW: Marillion – A Piss-Up in a Brewery / Christmas 2000

MARILLIONChristmas 2000A Piss-Up in a Brewery (2000 fan club CD)
MARILLION A Piss-Up in a Brewery (19 track download version released 2010)

Being a member has its advantages, and when joining the official Marillion fan club entails a free exclusive CD, you can always count on me to be on board.  Marillion’s third, A Piss-Up in a Brewery, was my first.  The original 12 track Racket Records printing (WebFree 03) is a treasure.  It was made available again to members of the Front Row Club subscription service in 2003, as Bass Brewery Museum, Burton, UK – 17th November 2000 (FRC-011).  CD has space limitations, but in 2002 a DVD of the full 19 song show was released.  Then in 2010, the audio (mp3 or FLAC) of all 19 tracks was made available for download.  Anyway you want it, you can get the complete performance as it was.

Marillion were invited to perform intimate gigs at the Bass Brewery and get their own signature beer.  They chose an acoustic format with new material, special covers and a guest.  They were hard at work on their new album Anoraknophia, “which you’ve already bought” said Steve Hogarth, referring to their innovative pre-ordering scheme.  The second gig was recorded for the fan club-only Christmas CD.

A quiet “Go!” begins and gently builds to the throbbing chorus, “Wide awake at the edge of the world.”  The second song also quietly builds from calm beginnings.  “After Me” is one of their most memorable pop melodies, infused with integrity from the start, and stripped bare in the brewery.  Then from their 1994 concept album Brave comes the single “Alone Again in the Lap of Luxury”.*  Intense songs for an intimate show.  “Lap of Luxury” smoulders, and as it burns, Steve Hogarth blasts for all he’s got.

The first big surprise of the evening was the Fish-era B-side “Cinderella Search”, albeit the shortened 7″ version and not the full-on five and a half minutes of brilliance from the 12″ single.  The amusing thing is when a spoiling audience member blurts out the title having attending the night before.  “Oh, there’s always one,” says Hogarth.  The singer had never performed the song before these gigs.  The acoustic setting alleviates any pressure to be like Fish.  It also enables them to seamlessly meld the song onto “The Space”, already popular in acoustic form.

“A Collection” is another B-side with dark subject matter.  It’s about “an uncle” with an interesting hobby, but it’s also an ironically bright tune.  “Beautiful”* and “Afraid of Sunrise”* both date back to 1995’s Afraid of Sunlight, a pair really made for the intimate setting.

New friend Stephanie Sobey-Jones on cello is invited onstage for a sombre “Sympathy”, both a single and a Rare Bird cover.   Cello also features on the new song “Number One”.  It had simple beginnings, explains Hogarth.  “I had some words, and Mark had some chords.”  Interjects Mark Kelly, “Three, actually. I’m not joking!”   The track takes a stab at the artificiality of modern pop music, but was only included on the pre-ordered deluxe edition of Anoraknophobia.  Simple, but extremely intense.  The cello stays for “Dry Land”, a favourite ballad from 1992’s Holidays in Eden (and even earlier).  The voice of Steve (Hogarth) rings true on even the most difficult note, while the guitar of Steve (Rothery) makes for a sweltering solo.

Back to 1987, and the old favourite “Sugar Mice”.*  Of all the old Fish classics, “Sugar Mice” is the one that Hogarth most easily adopts.  The scars that he is nursing at the end of the bar sounds like his own.

Yet still the humour is always there.  As they warm up for the Mexican-sounding “Gazpacho”, Mark Kelly asks “Am I in the wrong band?”

“You have been for years,” deadpans Pete Trewavas.

“Gazpacho” gets you moving as the concert enters its final third.  Away, yon darkness; the music stays largely celebratory from here, though the lyrics maintain some bite.  Elvis Presley, O.J. Simpson and Mike Tyson were mentioned as inspirations for the lively song.  Celtic sounds invade “80 Days”,* an ode to the audience who clap along to every beat.  “80 Days” was always acoustic, and “The Answering Machine”* has existed in a popular acoustic alternate arrangement for years.  The brewery crowd clearly liked both very much.

A slew of covers are encore treats.  Crowded House’s “How Will You Go” (from 1991’s Woodface) is a brilliant song and choice.  There’s one more original (drummer Ian Mosely smokes on “Cannibal Surf Babe”) before they do Carole King’s “Way Over Yonder”* and The Beatles’ “Let It Be”.*  Rothery gets a bluesy guitar showcase on “Way Over Yonger”, though Hogarth has the soul credentials too, as “Let It Be” ably proves.

For a long time, I felt that the original Christmas 2000 release of A Piss-Up in a Brewery to be one of the best Marillion live albums, period.  It’s still magnificent in its full length, though perhaps they should have just made it widely available to everyone in the first place.  Maybe it wouldn’t have been a hit, but if they were on Santa’s good list that year, you never know.

5/5 stars

* Indicates this song was not on the 2000 Christmas release of A Piss-Up in a Brewery, but only the DVD and download versions.

REVIEW: Marillion – The Jingle Book – Christmas 2006

scan_20161213MARILLIONThe Jingle BookChristmas 2006  (2006 Racket Records WebUK membership CD)

Gather ’round the glow of your computers children, and get your hot chocolate in hand, for it is time for a look at another Marillion Christmas CD.  The Jingle Book is a doubly clever title, for Marillion’s Christmas song for 2006 was a cover of “That’s What Friends Are For” from The Jungle Book. A surprising choice, it is rather movie accurate and partly acapella.  There is also the traditional and always silly Christmas greeting from the band.  In what may also be a Marillion tradition, this short message requires multiple takes!

The bulk of the CD is a live set from Poland in 2006.  The festival setting lends this CD a different atmosphere than other live Marillion discs.  From the sonics to the feel, The Jingle Book doesn’t work like typical Marillion sets.   There are only a few long bombers, lots of singles, and no tracks earlier than Seasons End.  Decent quality audio will satisfy all but the pickiest of fans; remember this amounts to an official bootleg.

An ass-kicking “Separated Out” was chosen for opening position.  This song, among Marillion’s most energetic, would have got the crowd’s attention.  Drummer Ian Mosely is a monster on “Separated Out”, which is immediately followed by the band’s hit single “You’re Gone”.  The mosh pit vibe gives way to ethereal dance.  Floating like smoke in the air, “Fantastic Place” and “Easter” are rolled out in powerful performances.  Talking is minimal though Steve “h” does attempt some Polish.

Afraid of Sunlight is given a nod with the ballad “Beautiful”, and progressive epic “Out of this World”.  “Beautiful” is as lovely as its name, and has the feeling of celebration.  The mood darkens immediately on “Out of this World”, as there are very few positive songs about nautical disasters.  Steve Rothery’s immaculate guitar tone sings its own song, sad but hopeful.

The beat picks up with the electrifying “Accidental Man” from This Strange Engine.  As a highlight from that often overlooked album, “An Accidental Man” does not get showcased often, and this organ-heavy take is satisfying.  Boppy Beatles-y single “The Damage” (from Marbles) is sheer delight.  With genie now out of the box, “Neverland” begins a long slow climax.  As one of the most dramatic of all Marillion epics, “Neverland” haunts the air like burning incense.  Then like a halogen light, Rothery brightens it up with his un-immitatible string magic.  Consider the heart that “h” puts into his singing here, combined with Rothers’ liquid guitars, and this could be the best ever live version of “Neverland”.

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Rolling into the encores, “Between You and Me” and “Cover My Eyes” exude glee and positive vibes.  There is much common ground between the two albums those songs are taken from (Holidays in Eden and Anoraknophobia) so it is unsurprising that they work together so well in the encore position.  A brilliant pairing, crisp and refreshing like Sauvignon Blanc with a healthy avocado salad.

As with any past Marillion Christmas CD, you can’t buy this anymore and the chances of stumbling upon one in the shops are nil, even with the help of all of Santa’s elves.  However you can still download it and the others by joining the official Marillion webUK fan club.  Members receive three thick, glossy full colour magazines, the Christmas CD, and other downloadable content.  Worth thinking about, or adding to your Christmas list.

4/5 stars

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REVIEW: Marillion – Merry Xmas to Our Flock – Christmas 2005

scan_20161204MARILLION Merry Xmas to Our FlockChristmas 2005 (2005 Racket Records WebUK membership CD)

Every year, like the most reliable loyalty program in the world, Marillion reward their fanclub members with a special Christmas release.  Each one has exclusive music on it, some more Christmas-y than others.  The main exclusive on the 2005 Christmas release is a live set by “Los Trios Marillos”:  a stripped down trio version of the band.  Los Trios does acoustic versions, usually for radio sessions, and consists of singer Steve Hogarth, guitarist Steve Rothery, and bassist Pete Trewavas.  These 13 tracks were recorded in Washington DC for XM radio, featuring a wonderful cross-section of Hogarth-era favourites.

That’s not all, of course!  Marillion deliver their traditional Christmas message at the start of the CD, campy and tipsy.  Bonus points if you’re from North America but can still translate everything the band says.  It takes them a few takes to finally get it to their, err, satisfaction.  “We hope you have a really good Christmas, don’t get too drunk, and we’ll see you next year.”  Then, “That’s not written down at all!”  Usually these albums include a brand new studio Christmas track too, and this time it’s the celtic “Erin Marbles”.  It’s a hyperactive Irish jig with mandolin, tin whistle, squeezebox, fiddles and bodhran.  Calling this a Christmas track is a bit of a stretch, as it is basically the song “Marbles” from the same-titled album done up for fun, mixed with a medley of Christmas tunes.  There is no question it’s fun for the fans, but nobody except fans will “get it”, so it’s not really useful for mom’s Christmas mix CD this year.

The Los Trios set commences with the downer “Hollow Man” which is an abrupt change of moods.  The was recorded live with an audience, but they are so quiet during “Hollow Man” you could hear a pin drop, which makes the song that much more haunting.  It is performed solo by Hogarth only accompanied by piano.  “It’s a little early in the morning to be singing,” says Steve.  Fortunately things become upbeat if only for a little while on “Cover My Eyes”, a song that is brilliant acoustically.  If you have heard Marillion’s piano treatment of this single, then you will recognize this arrangement.  It might have been too early to sing that morning, but Steve manages just fine, including the high “pain and heaven” section that challenges every mere mortal.  Rothers and Pete join Hogarth at this point for the B-side “The Bell in the Sea”, which Steve mis-introduces having lost his place in the set list!  It’s live radio, folks.  This is the jazzy bass-oriented acoustic version that the band had been performing since at least 1998, very different from the nautical epic original.  They then return to the song that H was beginning to introduce, “Runaway” from Brave.  It was the song that kickstarted the whole concept of the album.  It is a dark and emotional band and fan favourite, but stripped down to a trio format, it is even more delicate.

The first of four songs from the most-recent Marbles is the dancey hit “You’re Gone”.  Acoustically  it is a different animal, but just as beautiful.  The focus isn’t on the beats but on the melody.  Another song that is completely altered is “Dry Land” from Holidays in Eden.  It is slowed down with a gentle electronic pulse as it rolls softly.  “Fantastic Place” from Marbles flows naturally from there, and Rothery’s solo is absolutely supernatural.  The set really moves at this point, with minimal talking.  “This is the 21st Century” from Anoraknophobia burns quietly but strongly.  On album it percolates with unusual electronic effects, but live it simmers with the hot tone of Steve’s guitar.

“Easter” is a bright light in the set.  This version starts very quiet, slow and understated.  It’s an inventive take, and it slowly builds to the resemble the original, though it ends early.  “Marbles 1” and “Don’t Hurt Yourself” are the last of the new songs presented, and the audience get right into it.  “Don’t Hurt Yourself” has to be one of the best songs Marillion has ever written, and the clapping crowd energizes it.  “Don’t Hurt Yourself” was one of many highlights on Marbles, but here it is head and shoulders the winning track.  A wonderful performance of an exceptional track.

Old favourites end the radio session:  “Answering Machine” (from Radiat10n) and “Man of a Thousand Faces” (from This Strange Engine).  “Answering Machine” should be very familiar, as this acoustic mandolin and guitar arrangement has been recorded many times before.  The handclapping crowd returns to finish “Man of a Thousand Faces” with class.  This song has always been acoustic, so this does not tread far from its roots, though it is shortened for the trio format.

You can’t buy this CD anymore and the chances of stumbling upon one in the shops are nil, however you can still download it by joining the official Marillion webUK fan club.  It is well worth it.  You get three thick, glossy full colour magazines, this year’s Christmas CD, and access to download all the old ones and much more.  Worth thinking about, or adding to this year’s Christmas list.

4/5 stars

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GALLERY: I am once again a Marillion Web UK member

 

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Greetings!  Last month, we took a detailed look at four of Marillion’s annual Christmas releases:

A Collection of Recycled Gifts (2014)
A Very Barry Christmas (2001)
Christmas 2002 – Santa and his Elvis (2002)
Somewhere Elf (2007)

With the exception of A Collection of Recycled Gifts, these Marillion CDs were a free gifts exclusively for members of the official Web UK club.  I ceased subscribing and collecting a few years ago when they switched format to DVD releases.  Video is way further down on my collecting priority list.   In 2014, however, I learned they switched back to CD!  A double CD in fact: a live concert recorded in Chile called (heh heh) Chile for the Time of Year!

I re-subscribed just in time to get it.  And it has arrived, along with the 48 page glossy Web UK magazine.  This is a heavy mag, printed on good quality paper.  It’s nice that some bands’ fans still value such niceties.    There are four issues per year.

Below are a selection of pics.  For more on the Web UK, and a better way of life, visit marillion.com.

 

REVIEW: Marillion – Somewhere Elf (Christmas 2007)

SOMEWHERE ELF_0001MARILLIONSomewhere Elf (2007 Racket Records Christmas CD, free to Racket Club members – webfree 10)

This is, believe it not, Marillion’s 10th Christmas album of 11 total. From 2009 to present, Marillion have issued annual Christmas DVDs (which I do not collect) instead of CDs. Of their 11 Christmas albums, I have physical copies of nine. I am missing the first two, which were later reissued for purchase in mp3 format, and that is all I have in my collection.

(Note: in 2013 they released a new digital Christmas single, “Carol of the Bells”.  This song has since been issued physically on the new “best of” Marillion Christmas CD entitled A Collection of Recycled Gifts which just arrived at LeBrain Headquarters yesterday!)

The reasons I selected Somewhere Elf to review are two: 1) The included Christmas carol is hilarious. 2) The rest of the songs are taken from an invite-only rehearsal performance at Marillion’s headquarters, The Racket Club. The set largely consists of newer songs from Somewhere Else and Marbles.  The CD also contains the annual Christmas message from the band (6:22 long), partly apologizing for the previous year’s “amateurish and shambolic” message!  This soon degenerates into joking, mistakes, re-takes and acoustic Christmas jamming, so obviously the quality level has gone up this year.

Track 2 is the official 2007 Christmas song, “Let It Snow”!  This is a kazoo-laden drunken carol with new lyrics.  “The Aylsebury roads are closed, Let it snow let it snow let it snow!”  Hogarth’s campy vocal isn’t my cup o’ tea, but it’s all clearly for laughs.  They segue into “White Christmas” before returning back to the singalong.

Found some booze in a flight case,
And I’m afraid that we’re all shit-faced,
So I guess that we’ll have to go,
Let it snow, let it snow, let it snow!

This one made it to one of my annual Christmas CDs that I give out to friends one year.

The live rehearsals might be more interesting to some.  The intimate setting means Marillion play mostly mellow, dramatic songs.  They commence with “The Last Century for Man”, a new song from Somewhere Else.  This is another one of Hogarth’s environmental commentaries, set to a slow dance this time.  An effective song, the seriously bummer lyrics are punctuated with the sarcastic chorus of “So God bless America, I mean it!  God bless the UK, I mean it!”  Elsewhere he says to “Climb into the car, I know that makes you happy.  The sound of your laughter will get you so far.”  Without turning this review into a debate, a song like this is a bit of a slap to the face, a wake up call.  I don’t have a problem with that.  Additionally I think it was one of the better songs from Somewhere Else.

SOMEWHERE ELF_0004“Afraid of Sunlight” is a song that doesn’t need much rehearsing, but I don’t mind hearing this bombastic ballad again.  One of H-era Marillion’s strongest songs, “Afraid of Sunlight” is a personal favourite of mine due to the quiet verses and explosive, anthemic choruses.   Hogarth is understated, and then wailing in top voice.  Then from 1997’s This Strange Engine is the old concert standby “Estonia”.  I always get a little bored during this long mellow trip, but it does benefit from this intimate setting with just the fortunate few fans.  They applaud politely between songs, contenders for the luckiest people in England at that moment.  A third long slow bomber, the title track from Somewhere Else, is another favourite of mine.  There are some Steve Rothery solos here that rank among his best.  Live, dare I say better?  This dramatic tension-filled song is one of the highlights of their recent career.

The Marbles album is represented by two excellent songs: “Neverland” and “Fantastic Place”.  Much like “Somewhere Else”, “Neverland” is a long dramatic piece with different sections and moods.  It’s not an easy nut to crack, but worth getting to know.  This live version is intense, and again Rothery is the star.  After that much drama, there can’t be much air left in the room, but “Fantastic Place” soars.  It’s a bit of a brighter number, beginning quietly, but culminating with the kind of melodic guitar work that Rothery does best.

A studio version of “Faith” was finally released on Somewhere Else, but the song saw first release on Before First Light, a live DVD from 2003.  It was one of many songs initially written for Marbles, but its lullaby quality did not fit the vibe.  “Feel inside the atoms where the science breaks down,” sings Hogarth on what amounts to a statement on reality, love, the universe and the human experience of it.  In a 4 1/2 minute pop song.  Is it any wonder why the mainstream shies away from these guys?  Too cerebral.

The set closes with “See It Like a Baby”, a rocking upbeat new track that they were hyping at the time.  Here in an acoustic guise, I think I prefer it to the original album version.  It’s a little more special, and the acoustics chime clear inside the walls of the Racket Club.  It’s also the shortest song they played at this very special gig.  I’m glad special shows get commemorated and made available to people in this way.  People who are truly fans got an opportunity to own a CD of a concert that only a handful witnessed, and will probably never be physically issued again.  That’s mana to the collector.  Since this CD was intended as a Christmas gift to the loyal, I rate it:

4.5/5 stars