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