FUGAZI (LP, EMI, 12 March 1984, 45:56) – score 61%
Musicians: Fish – vocals; Steve Rothery – guitars; Pete Trewavas – bass; Mark Kelly – keyboards; Ian Mosley – drums, percussion
Additional musicians: Linda Pyke – backing vocal (on “Incubus”); Chris Karen – additional percussion
Producer: Nick Tauber; Engineer/Mixing Engineer: Simon Hanhart; Recorded at various studios, November 1983 – February 1984; UK Album Chart: 5; BPI Cert: Gold (100,000+).
The inconsistent nature of Marillion’s second album was perhaps inevitable given the chaotic scheduling of the recordings and the revolving drum stool during the album’s conception. The band pushed for a more personal and distinctive sound without fully achieving their goal – mixing hard rock with progressive and pop overtones in a seeming effort to please all. Drummer, Ian Mosley proves to be a great addition to the band and over the years would form an excellent partnership with bassist Trewavas that makes some of their efforts here feel a little stiff rhythmically – likely due to both playing it a little safe. Fish’s lyrics tend toward the wordy and metaphorical showing a frustrated novelist. Rothery shows glimpses of the wonderful guitarist he was to become.
1. Assassing (Fish, Kelly, Rothery, Trewavas) (7:03) ****
Indian and African influences in the opening give way to more traditional driving rock tropes with jazz tinges, muscular bass and big musical statements, notably from Kelly’s keyboards and Rothery’s guitar synth. Inspired by their pagan surrounds in Wales during the writing. Released as a single on 30 April 1984 peaking at #22 in the UK singles chart.
2. Punch & Judy (Fish, Kelly, Rothery, Trewavas, Mover) (3:22) ***
A pacey keyboard riff and stuttering rhythm underline the lyrical use of the children’s violent puppetry as an allegory for the breakup of a marriage. Lacks substance but doesn’t outstay its welcome. Released as a single on 30 April 1984 peaking at #29 in the UK singles chart.
3. Jigsaw (Fish, Kelly, Rothery, Trewavas) (6:51) ***
The opening musical box sound introduces the band’s first power ballad with a big chorus. It is another lyrical allegory from Fish in that relationships can be like jigsaw puzzles with missing pieces and frustration. The song contains an elegant, gliding Rothery guitar solo, but rhythmically is a little static.
4. Emerald Lies (Fish, Kelly, Rothery, Trewavas, Mosley) (5:12) **
A song about jealousy and infidelity that begins like a hard rocker, before moving into a more delicate acoustic section. The song then runs through various musical sections alternating the heavy and the quiet. Overall though the song lacks its own distinctive character.
5. She Chameleon (Fish, Kelly, Rothery, Trewavas) (6:55) **
An atmospheric and hypnotic repeated organ phrase from Kelly runs intermittently through this tale of metaphoric chameleons. A mid-song keyboard solo serves little purpose as the song fails to gain momentum with its multi-sectioned approach, although once again Rothery shows how he was growing as a distinctive and sensitive guitarist with a short fluent solo.
6. Incubus (Fish, Kelly, Rothery, Trewavas) (8:32) ***
Fish stays on the subject of doomed relationships as the band play a menacing and atmospheric backing. The song is given room to stretch and breathe and weaves its way through short musical sections behind Fish’s wordy lyrics. Another fluent Rothery solo is again the highlight, and it leads into the kind of dramatic end section that would become a band trademark.
7. Fugazi (Fish, Kelly, Rothery, Trewavas) (8:03) ****
A cynical album closer based on the slang phrase used by US soldiers in Vietnam begins with a neat piano section from Kelly as Fish’s lyrical similes dig into our psyche. Echoes of Pink Floyd emerge as the song slowly builds momentum through its sonically creative mid-section, before playing out in anthemic style. The song showcased the band’s strengths and pointed the way forward.
1. Cinderella Search (Fish, Kelly, Rothery, Trewavas, Mosley) (5:32) **
Another rhythmically stiff and undistinguished song, that tells of seeking out the opposite sex in nightclubs and bars. The music and lyrics fail to tie together and the song meanders through pieced together segments before gathering some momentum in its closing section. B-side to “Assassing” released as a single on 30 April 1984.
– All individual tracks scored * to *****
– Album scored as a % based on individual track scores weighted by track length.