FUGAZI

'Fugazi', or the strongest contender for the best Fish-era Marillion album, alongside the debut, in my humble opinion. This amazing record was released in March 1984, and came soon after the recently-formed neo-progressive rock band's quite successful and promising first album, 'Script for a Jester's Tear'. The band recorded 'Fugazi' between November of '83 and February of '84, producing two singles - the opening tracks 'Assassing' and 'Punch and Judy'.

The striking cover was the brainchild of Fish, and it meant to represent the kind of protagonist of the record, although this is definitely not the usual concept album with a storyline developing across the different tracks. In fact, it is not a concept album at all. Fame, substance abuse and addiction, sexuality, and criticism over authorities are among the themes that Mr Derek Dick touches upon on this album.

Sonically, 'Fugazi' sounds very similar to its predecessor, with Marillion embracing the progressive art rock values that they had already displayed, creating what could be referred to as the definitive sound of an 80s progressive rock album. This time, however, the band showcases on some of the songs hard rock and even pop rock leanings (for example, on the two singles that this album produced), that are quite well masked in the search for an identity that Marillion found in a keyboard-centered sound that resembled 70s prog but did not dismiss completely the prevailing in the mainstream punk rock values.

Cinematic, tense, and gripping, the songs on 'Fugazi' are a perfect continuation of the very expressive rock sound that they created with the release of 'Script'. The lyrics of Fish are even more striking and obscure, quite though-provoking, and strictly poetic; his phrasing and vocal style are so recognizable, vivid, and memorable, transporting the listener to an adventure across the mind of a true lyrical genius. This can be well observed in 'Emerald Lies', 'She Chameleon', 'Incubus' and the title track, all songs that are characterized by an unsettling atmosphere which also happens to be very elegant.

The music on 'Fugazi' goes perfectly well with the concept of the record, and with the lyrical content, despite the fact that it might be considered a tad bit less comprehensive than the music on 'Script', which was something also noted by the critics at the time, not that this should of any value to the interested listener. I find the record memorable and compelling, also resonating with the listener on a profound level, indicating that the magic of early Marillion is alive and well in their sophomore release. Moreover, this is one of the albums that still sound really well after so many years, unlike a load of albums from the same period that have the neo-progressive rock tag.

As for the line-up, the only difference with the preceding album is that drummer Mick Pointer had been dismissed (who later found Arena with Clive Nolan from Pendragon), to allow Ian Mosley to join the band for an enduring and fruitful match with the rest of the band, namely Steve Rothery on guitars, Pete Trewavas on bass, Mark Kelly on keyboards, and the charismatic Fish on vocals.

Highly recommended album, and one that I consider an extremely important episode in the history of progressive rock; although 'Fugazi' is usually neglected in favor of the other three albums that Marillion released with Fish, it is certainly a 'hidden gem' in the band's discography.