FUGAZI

Marillion's sophomore attempt disappointed many. I can see why. Most people liked the NeoGenesis sound and stylings of their debut--(which is where they'll return for their next--the album most consider their masterpiece, Misplaced Childhood.)

1. "Assassing" (7:02) opens with some SIMPLE MINDS "Don't You (Forget About Me)"-sounding sound palette before switching to a funky 80s synth baseline. The vocal isn't 80s ish, but everybody else is--especially the drums, bass, and cheesy synth flourishes. Nice lead guitar work in the fourth minute (though I'm surprised Rothery felt the need to double himself up--doing it twice on two different tracks.) In the fifth minute the baseline rhythm section switches to something more interesting (until the dated 80s synth wash chords join in.) At 5:55 we're back to the 80s SIMPLE MINDS sounds and structure. (12.5/15)

2. "Punch And Judy" (3:21) More SIMPLE MINDS sounds and structure to open this silly song. A complete failure--especially as a prog song. A song unworthy of a band of this talent and caliber. (7.5/10)

3. "Jigsaw" (6:50) MIDI-ed synth arpeggi supports Fish's sensitive vocal until 1:12 when Fish belts out his "stand straight" chorus line and the rest of the band joins in with synth washes and interesting bass up front. The song quickly moves back to the nursery room arpeggi with Fish's delicate poetic vocal again for the second verse. After the second "stand straight" chorus there is a shift into an instrumental C part in which Steve Rothery delivers a perfunctory guitar solo. A and B return, a little fuller this time, before the song plays out with the A section and Fish's delicate vocal story finish. Rothery's background lead flourishes and Pete Trewavas' interesting bass are the best things about this song. (13/15)

4. "Emerald Lies" (5:09) opens with some searing guitar over full band. Pete's chunky Chris Squire-like bass are quite prominent. Delicate 12-string arpeggi move in, providing the sole support for Fish's narrative story telling. Pete's jazzy bass joins in for a bit. Then we move into a powerful repeat of the opening for a militaristic vocal display at the second half of the third minute. I don't like the way the drums are recorded on this album: very 1980s-ish (gated snare and toms). The second part of this nightmare section is pretty cool with all the instrumentalists weaving together for some ominous music in support of Fish's dark lyrics. (8.75/10)

5. "She Chameleon" (6:53) "organ" arpeggio opening over which Fish joins in with a delicate Peter Gabriel-esque vocal. Tom hits punctuate Fish's vocal in the second minute as things get heavier with the addition of spacious bass and drums--all the while as the organ arpeggi continue their insidious malediction. Great, theatric Fish performance. At 2:42 we move into full smooth rock section for some nice synth soloing--almost Vangelis-like. At 3:35 we move dramatically back into a darker, more ominous passage--which is then filled by a slow-building Steve Rothery solo. Very David Gilmour-like. Then it's back to the story and Fish's dramatic storytelling. The best song on the album (despite the subject matter and use of foul language). (13.25/15)

6. "Incubus" (8:30) interesting and unique opening before three chord baseline sets into auto pilot while Fish sings. Nice chord sequence at the shift at 1:24 though the rhythm remains the same--but then a soft guitar-arpeggio section enters in which Pete's bass and Fish's plaintive story-telling voice sing. Simple vamp to support Rothery's fair solo in the seventh minute. (He's still not there--still not found his own sound and style much less virtuosity). All in all, this is not really a great song, though it has a lot of very promising elements--including the "waiting for the prompt" finale. (17.25/20)

7. "Fugazi" (8:13) gentle opening section is trumped by SIMPLE MINDS B section. A dull, uninteresting song to end a disappointing album. (12.25/15)

Total Time: 45:54

I have to admit that Pete Trewavas impresses me more than I imagined and Fish's skills at dramatic storytelling really soar on a couple songs ("She Chameleon" and "Incubus"), but the dated synths, horrible gated effects used on the drums, and reliance on 80s Simple Minds three-chord pop bombast on a couple of songs turn me sour.