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11 of 11 people found the following review helpful:
5.0 out of 5 stars
Fish out of water, August 3, 2000
I have always been puzzled by the way this 1984 album has been
underestimated and disregarded in the grand scheme of Marillion's
work. To brand "Fugazi" a mere album of transition, a phase
they had to go through en route to bigger and better things, does no
justice to the brilliance of this early recording (which, i might add,
can also be said for their debut album "Script for a jester's
tear"). It is every bit as much a masterpiece as the ensuing
"Misplaced childhood", which did receive such critical
acclaim, but primarily owed its considerable commercial success to the
way "Kayleigh" seemed to capture the imagination of the
public at large. Forget about the (pre-Phil Collins) Genesis analogy;
"Fugazi" is in an entirely different league altogether from
anything Peter Gabriel & Co had previously been able to come up
with. Sure, apart from working a similar symphonic rock angle, Fish's
vocals bear a good likeness to Gabriel's, while both were known to
wear on stage warpaint. But the evolution of recording techniques
alone (coupled with a vast improvement of production values), would
make this a senseless and unfair comparison.To focus on Marillion's
early work without stressing the role and importance of the lyrics
would be an oversight. Lead singer/songsmith Derek William Dick, also
known as Fish, is a towering, balding Scotsman with the heart of a
poet and the vocabulary of "Webster's New Dictionary". At
this point he still loved to indulge in overly complicated songtexts,
elaborate phrasing and expensive words. The music was evidently
written to suit the lyrics, not the other way around. Giant opener
"Assassing" and the sweetly ironic "Punch &
Judy", both single releases, are notable exceptions to the
rule. And even though this adversely affected the flow of the music,
somehow it worked for them like a charm, adding to the distinctive
nature of their theatrical style. On "Fugazi" Fish's
lyrics mostly address unhappy relationships that have either lost
their magic ("Punch & Judy") or have turned downright
venomous ("Assassing", "Emerald lies", "She
chameleon"). The undercurrent of bitterness and resentment,
leading up to inevitable confrontation, is further reflected in Fish's
icy, razorlike vocal delivery and reiterated by a sharp edged
production. Only the title track deals with alternative subject
matter: Fish sheds his light on a world gone mad, a society
depersonalized by space age technology and under constant threat of
annihilation. If nothing else, the hyperintelligent, introspective
lyrics provide a crash course in English at University level. Named
after J.R.R. Tolkien's 1977 novel "The Silmarillion",
Britain's all-time greatest symphonic rock band (gratuitous judgmental
statement !) did not exist by the grace of Fish alone. On their
respective instruments keyboarder Mark Kelly and guitarist Steve
Rothery are among the best in the bizz, while Pete Trewavas and Ian
Mosley to this day are permanent fixtures on bass and drums. Kelly's
keyboard antics in particular are spectacular throughout the
album. The pomposity of its synthesizer theme and vicious guitar riffs
help make "Assassing" (its closing line is a quote from
Francis Ford Coppola's "Apocalypse now") one of the greatest
symphonic rock tracks ever. "Emerald lies" is both poetic
and disconcerting, "Incubus" ominous and strangely
hypnotic. "Fugazi" (the album) was modestly represented on
Marillion's 1997 29 track 2CD anthology "The best of both
worlds" (namely by "Assassing" in a shorter version and
"Punch & Judy"), which would nonetheless be a solid
starting point for people who are relatively new to their music. The
bonus CD that is included here i do not own myself, but suffice it to
say that "Cinderella search" (off of the "Assassing"
EP, featuring on "B-sides themselves" and (live) on
"Real to reel") is a great song for incurable romantics -
Yep, i admit it: i love this one -, while "Three boats down from
the Candy" (off of the "Market square heroes" EP (famous
for its stupendous 17 minute epic "Grendel"), also on
"B-sides themselves") is an OK track, but nothing
earthshattering. "Fugazi" ranks without a shadow of a
doubt among my Top 3 Marillion albums, the others being "Script
for a jester's tear" and (with Steve Hogarth on vocals)
"Season's end". Likewise it is one of the best symphonic
rock albums ever made. Draw your own conclusions...
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10 of 10 people found the following review helpful:
5.0 out of 5 stars
Solid and passionate from front to back, July 14, 2003
Fugazi(1984). Marillion's second studio album. Remastered in 1998 with extensive linear notes and a bonus cd containing b-sides and demo tracks. Progressive rock is a genre of rock music that often goes unnoticed and underappreciated by the general public. It is a "thinking-man" form of music, which although intelligently crafted and full of soul and emotion, will more often than not come off to people as over-pretentious and pompous. This is most likely the result of people becoming accustomed to dumbed-down radio drivel in the past several years. There are a few prog/rock groups which have hit some form of success at some point in their careers, namely Pink Floyd, Genesis, and Rush. Come the early 1980's, another prog/rock band would step up and redefine the genre below the awareness of the public, called Marillion. Although not well known in the states but somewhat big in Europe, Marillion has richly assembled a varying number of masterful albums over the years, and they are still around today. Even among Marillion's fans, the band's second album Fugazi is highly underrated, pushed aside in favor of nearly every other album. Fugazi was my introduction to the Marillion, and what a great way it was to get acquainted with the unsettling world sonically depicted by these talented songwriters/musicians. It contains probably the band's most recognizable instrumentation used on any album: lush keyboards, loud pounding drums, and the most use of guitars. Marillion tended to make heavy use out of keyboards, but unlike most bands of the era, these guys knew how to show plenty of style and hold onto a solid amount of musical substance at the same time. Here's the lowdown of Fugazi: 1) Assassing- The album kicks off with this amazing pseudo-rocker. It starts out with keyboards and an excellent tribal drum pattern and then the rest of the band takes over. Fish's vocals are executed in a very emotional manner as well as Steve Rothery's great soulful guitar melodies. Lyrically, it's about a "war of words". Roughly 7 minutes, but it never fails to please. 10/10 2) Punch And Judy- A short, drum-beat driven single about a failed marriage and its effect on a man, which drives him to kill his wife. Very catchy, plus it contains great keyboard melodies throughout. 10/10 3) Jigsaw- A calm keyboard-lined ballad with the main emphasis placed on Fish's vocal delivery. His singing offers a very personal insight on the lyrics. It's a more optimistic look at relationships that have gone bad. Definitely a standout track. 10/10 4) Emerald Lies- Starts off with booming keyboards then turns into an accoustic ballad, and then goes right back into the pounding section with infectious keyboard melodies. Another track about a failed relationship. 9/10 5) She Chameleon- A slow and haunting number complete with eerie organs and Fish's dark, emotional vocals. It picks up in the middle with a very melodic keyboard solo. Like another reviewer mentioned, this song brings up a very important question in a failed or non-existent relationship: "Who's using who?" Creepy, but very good. 9/10 6) Incubus- Another track about bad relationships, but it's the instrumentation which keeps the song interesting. It alternates from a progressive drum pace at the beginning into a waltzy section with a melodic guitar solo. Not my favorite track, but still an excellent one. 9/10 7) Fugazi- AN OUTSTANDING TITLE TRACK. Slow in the beginning, but it builds up with keyboards and drums towards the middle, followed by a slow haunting section and a more optimistic ending fading into a military drum pattern. With lots of cryptic advanced English symbolism and philosophical poetry, the title track stands out as this album's masterpiece. Instead of relationships, it talks about how the whole world has turned mad with various constant global threats on the verge of becoming a deadly reality. Fish's vocals really shine here. It must be heard to be believed. 10/10 And the Disc 2 B-side bonus tracks: 1) Cinderella Search- A great emotional keyboard driven ballad, which turns into a mid-paced rocker towards the end. It fares so well that it should have been included on the original album. A HIDDEN GEM NOT TO BE MISSED. 10/10 2) Three Boats Down From The Candy- A good but not great b-side. Fish's vocals are excellent as always, but other than that, nothing too noteworthy. 8/10 There is also an alternate version of Assasing, and four poor quality studio demos. Nice bonuses, but certainly not essential. Even though other albums such as Misplaced Childhood(1985), Script For A Jester's Tear(1983), and Clutching At Straws(1987) are more popular among the fans, Fugazi to me is equally phenomenal in terms of musical and lyrical delivery. So I give it five stars. Complex, but somewhat accessible enough to draw in fans. If you like your rock music to be thought provoking, intelligent, and moving, but with a definitive 80's keyboard sound twist added to it, then Fugazi is a great place to come to. HIGHLY RECOMMENDED.
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12 of 13 people found the following review helpful:
5.0 out of 5 stars
Stand straight., August 12, 2001
If Script for a Jester's Tear was rooted in Genesis influences, Fugazi shows Marillion evolving and developing more as a unique group. Fronted by the unique and idiosyncratic Fish (Derek Dick), whose emotional lyrics were captured by the acuity of his fellow musicians (especially guitarist Steve Rothery), Marillion produces music with long-term emotional and intellectual impact.Reading through the band's comments in the liner notes (found with the remastered edition) and learning of all the misfortunate ordeals surrounding the recording of this record, I find it pretty remarkable that it worked out so well. Fugazi's lyrical matter, excepting the title track, revolves largely around relationships gone bad. "Jigsaw" is a poignant ballad of valediction...good for romantics like me, and the chorus is one of the best of the Fish-Marillion days with tons of emotional power. "Punch & Judy" is the story of a marriage where the man's resentment of his wife culminates in him drugging and killing her! ("Just slip her these pills and I'll be free, no more Judy." Unusual lyrical matter for a pretty successful single!) "She Chameleon" is rather indecent, but the lyrical message is interesting... it deals with band groupies and what _they're_ getting out of the whole deal. ("Who's using who?" as Fish puts it in the booklet.) "Assassing" is about how words can be used as weapons. It's full of great lines like "Listen as the syllables of slaughter cut with calm precision." "Fugazi" is a brilliant look at society teetering on the precipice of alienation and obliteration. It's not immediately obvious, however. "Fugazi" is filled with supra-complex poetry, inconspicuous symbolism, and prolix diction...the works. I've not penetrated 1/10th of the complexities behind that song. Skip that university English course... just study this "Fugazi!" In fact, lyrical intricacies abound in each song, making this album the "hardest" of Marillion's catalogue, I think. The songs are extremely verbose, with verses like "Drowning tequila sunsets, stowaways on midnight ships | Refugees of romance plead asylum from the real | Scrambling distress signals no random frequencies | Forever repatriated on guilt laden morning planes" (from "Jigsaw"). That's not easy stuff to memorize! So this album takes work...listening while carefully following the lyrics, digesting the brilliance of Fish's writing. I find that Fugazi hits with less emotional impact than Script for a Jester's Tear, although the band still weaves some dramatically effective pieces. The shining, beautiful solo on "Incubus" during the culmination of the song's emotions is one of Steve Rothery's best. Rothery and drummer Ian Mosely establish a colorful Middle Eastern vibe on "Assassing." Kelly's harrowing organ swirls on "She Chameleon" are downright creepy, and with Fish's venomous vocal delivery, it's a pretty disturbing song. Even when it slips into the bouncy synth lines between the second and third verse, there's an unsettling undertone present. What's amazing about Marillion is that the band members were not technically stunning musicians, but they could enjoin more emotions and moods out of their instruments than almost anybody. I have to mention the bonus disc included with the 24-bit remaster. "Cinderella Search" is one of my favorite Fish-Marillion songs. I wonder why it was relegated to b-side status? The alternate mix of "Assassing" is great -- I like it better than the original because of the greater emphasis on the Middle Eastern vibe. The demos of Fugazi songs are dismissible, although hardcore Marillion fans (like me!) will like to observe the development of the ruff demo to the completed song. (The demo for "She Chameleon" sounds pretty ugly, though.) Fugazi is one of the best Marillion albums with Fish, up there with Script for a Jester's Tear, Misplaced Childhood, and Clutching At Straws. Oh, wait, that's all of them. Well, that's right! They're all great albums.
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