Published on Oct 15, 2004
This may sound like a weird statement to make at the start of a
review, but
Marbles, the latest release from Brit neo-prog rockers
Marillion, is the kind of disc you need to see performed live to
truly appreciate.
It’s not like there’s a stage show revolving around the disc a
la
The Lamb Lies Down On Broadway; rather, it’s seeing lead
singer Steve Hogarth and crew get into and become one with the
music contained on this disc that the listener truly understands
just what is unfolding in front of their eyes and ears. Even
without the benefit of seeing them live,
Marbles does contain some of the best music Marillion has
made in a few albums — an amazing statement, seeing I’ve liked
almost everything I’ve heard from them. (The band released two
versions of this album: a two-disc set available only on their web
site, and a single-disc version to retail. This review covers the
single-disc release.)
A disc three years in the making,
Marbles rightfully gave the band their first British Top 20
singles in some time with “You’re Gone” and “Don’t Hurt Yourself”.
Unfortunately, American radio has the spine as strong as a gelatin
dessert, so most people probably haven’t heard either of these
songs. This, kids, is what we call a God-Damned Shame, especially
seeing they are superb, and are a far cry better than most of the
sludge poisoning the airwaves today. Look, I know that the
occasional radio station visits these pages. I dare one of you
program directors: Program either of these songs in at least a
medium rotation, give it a fighting chance on the air, and watch
what happens. You can thank me later.
The truth is, briefly overlooking the four “Marbles” interludes
spaced throughout the disc, Marillion hit the bulls-eye almost
constantly with these selections. “The Invisible Man” and
“Neverland” are two epic tracks which, when given the time to
unfold in front of the listener, reveal multi-faceted songs with an
incredible level of power. Likewise, “Fantastic Place” is a song
which screams “potential hit single” and deserves more than a
passing glance.
Hogarth’s vocals and the songwriting by the band are what propel
Marbles to realms almost never heard from mainstream bands.
Hinting at the finality of existence on “Don’t Hurt Yourself” is a
daunting task, and can be misconstrued in any number of ways, but
the song is delivered with such energy (especially in Hogarth’s
vocal lines) that you can’t help but treat this music as a
celebration.
Criticisms? I have only two. First, I honestly would have lopped
off the first portion of “Angelina” and allowed the song to kick
off right at the start of its almost bossanova-like rhythm section.
Once you hit this point, the song and its portrait of loneliness,
broken only by the anonymous voice of the eponymous radio
announcer, is incredibly powerful. Second, as much as I try, I just
can’t get into “Drilling Holes” — though I do like the reference
to fellow Brit rockers XTC. (The reference also explains a lot to
me, since both bands refuse to play by the industry’s rules and
almost constantly release outstanding discs which get no attention
from radio.)
Marbles is a not-so-subtle reminder that Marillion has been,
and still remains, one of the best-kept secrets in rock music
today. The fact the band is getting some attention in the charts
suggests that the secret is being shared rapidly — and I’m glad to
help spill the beans by telling you to pick this disc up.