Tuesday, May 25, 2004

Fish released Field of Crows

Field of Crows


Released: May 25, 2004

Peak: -- US, -- UK, -- CN, -- AU

Sales (in millions): --

Genre: neo-progressive rock


Song Title (Writers) [time] (date of single release, chart peaks) Click for codes to singles charts.

  1. The Field (Dick, Watson) [8:42]
  2. Moving Targets [5:46]
  3. The Rookie (Dick, Watson) [5:35]
  4. Zoo Class [5:23]
  5. The Lost Plot (Dick, Turrell) [5:10]
  6. Old Crow [5:20]
  7. Numbers (Dick, Watson, Usher) [5:36]
  8. Exit Wound (Dick, Watson) [5:55]
  9. Innocent Party [7:37]
  10. Shot the Craw [6:00]
  11. Scattering Crows (Still Time) (Dick, Watson, Turrell, Duguid) [5:05]

Songs by Dick, Watson, and Dugild unless noted otherwise.

Total Running Time: 66:58

The Players:

  • Derek W. Dick, aka “Fish” (vocals)
  • Bruce Watson (guitar, e-bow)
  • Frank Usher (guitars)
  • Steve Vantsis (bass)
  • Tony Turrell (keyboards)
  • Mark Brzezicki (drums, percussion)
  • Dave Haswell (percussion)
  • Danny Gillan (backing vocals)
  • Richard Sidwell (trumpet, flugel horn)
  • Steve Hamilton (saxophone)
  • Yatta, Lars K. Lande (crowd vocal on “The Field”)
  • Irvin Duguid (clavinet on “Old Crow”)


3.407 out of 5.00 (average of 14 ratings)

Awards: (Click on award to learn more).

About the Album:

“Anyone who thought Fellini Days was a notch under Fish’s previous two studio releases (Sunsets on Empire and Raingods with Zippos) should feel relieved after listening to Field of Crows, a very fine entry in the gentle giant’s discography.” AMG

“Fish is making the best out of his lowering voice on this album, which could be seen as a sign of maturity. This album rocks out, but it mostly relies on mellower tracks and simpler songwriting – something reminiscent of Ian Anderson’s own dealings with an aging voice and more introspective interests. Fish’s focus is not on extended suites and shifting moods anymore, but elegant, intelligent songs, and in that regard he deserves an A for Field of Crows.” AMG

“His backing band has undergone yet another reshuffle. Guitarists Bruce Watson and Frank Usher are back. Bassist Steve Vantsis, drummer Mark Brzezicki, and keyboardist Tony Turrell round up the main lineup. Fish co-wrote most of the songs with Watson, a partnership that ranks among his best of late.” AMG

“The album is evenly split between rockers and mellower songs with folk-blues roots. From the first category, the very Marillion-esque (don’t you just love those piano arpeggios?) The Lost Plot, the premium ballad Shot the Craw (possibly his most moving since ‘A Gentleman’s Excuse Me’), and the bluesy Exit Wound stand out.” AMG

“Among the beat-driven numbers, kudos go to another bluesy number, Zoo Class, the catchy Moving Targets, and Innocent Party, in which the singer shows that he can still push a powerful mood-switching song.” AMG

“As usual, arrangements are finely crafted and varied from song to song, resulting in a very satisfying set high on memorable songs and surprisingly low on disposable content.” AMG

Resources and Related Links:

Other Related DMDB Pages:

Last updated 8/9/2021.

Sunday, May 16, 2004

Keane’s Hopes and Fears hit #1 in UK

Hopes and Fears


Released: May 10, 2004

Charted: May 16, 2004

Peak: 45 US, 15 UK, 42 AU

Sales (in millions): 1.0 US, 2.87 UK, 12.2 world (includes US and UK)

Genre: alternative rock/Britpop


Song Title (date of single release, chart peaks) Click for codes to singles charts.

  1. Somewhere Only We Know (1/16/04, 50 US, 32 RR, 37 AC, 11 A40, 2 AA, 32 MR, 3 UK)
  2. This Is the Last Time (11/22/04, 16 UK)
  3. Bend and Break (7/25/05, 20 AA)
  4. We Might As Well Be Strangers
  5. Everybody’s Changing (5/4/04, 33 A40, 6 AA, 4 UK)
  6. Your Eyes Open
  7. She Has No Time
  8. Can’t Stop Now
  9. Sunshine
  10. Untitled 1
  11. Bedshaped (8/16/04, 10 UK)

Total Running Time: 50:37


3.827 out of 5.00 (average of 33 ratings)

Awards: (Click on award to learn more).

About the Album:

“The English music press can never let anyone be. They’re always quick to hail the next big thing and, in this case, the next big Coldplay is Kean.” AMG The band “haven’t positioned themselves to be kings of anything, let alone the next Coldplay…Sure, Coldplay’s biggest hit to date, ‘Clocks,’ included only pianos, and they released the Safety EP on Fierce Panda, which is also Keane’s label, but those are the only things Keane have in common with Coldplay.” AMG

“Perhaps it’s the overall majestic presentation of the band’s debut album, Hopes and Fears, that does it. That and the fact that the Sussex trio doesn’t rely on a formula of lilting melodies and feverish guitars to carry the weight of the album.” AMG

“Alongside their beautiful, emotive dalliance of instrumentation is one thing that’ll separate Keane from all the rest, and that’s drive. The band's heartfelt ambition on Hopes and Fears is right there. It’s impossible not to reach for it, really. Lead vocalist Tom Chaplin's rich vocals are as vibrant as any choir, and songs such as This Is the Last Time, Bend and Break, and Can't Stop Now reflect Keane’s more savory, dramatic moments. Confidence bursts throughout, and for a band that has been around seven years and has never released a studio full-length album until now, achieving nearly epic-like status is quite impressive.” AMG

“Keane obviously have the songs and they have a strong voice leading the front; however, Tim Rice-Oxley (piano/keyboards/bass) and Richard Hughes (drums) allow Hopes and Fears to come alive with glamour and without the sheen of slick studio production. Even slow build-up tracks like Bedshaped and We Might as Well Be Strangers are just as passionate, if not more so, than some of the bigger numbers on the album.” AMG

“Some might find Keane’s debut a bit stagy, or too theatrical at first, but that’s okay. Listening to Somewhere Only We Know alone a few times is more than enough to convince you that Keane stand next to Coldplay, challenging them, and it’s a respectable match at that.” AMG

Resources and Related Links:

First posted 3/29/2008; last updated 5/3/2022.

Monday, May 10, 2004

In Concert: David Bowie

image from www.concertlivewire.com

Venue: Starlight Theater; Kansas City, MO

The Set List:

1. Rebel Rebel
2. New Killer Star
3. Battle for Britain (The Letter)
4. Cactus (Pixies cover)
5. Fashion
6. All the Young Dudes (Bowie wrote it, but Mott the Hoople made it famous)
7. China Girl
8. Pablo Picasso * (Modern Lovers cover)
9. Fame
10. The Loneliest Guy
11. The Man Who Sold the World
12. Breaking Glass *
13. Be My Wife *
14. Hallo Spaceboy
15. Sunday
16. Heathen (The Rays)
17. Under Pressure
18. Days
19. Changes *
20. The Supermen
21. Ashes to Ashes
22. Quicksand
23. White Light, White Heat (Velvet Underground cover)
24. Heroes

25. Station to Station *
26. Suffragette City
27. Ziggy Stardust

So, here’s the breakdown of what Bowie played and from what albums they came.

1970: The Man Who Sold the World: title cut, The Supermen
1971: Hunky Dory: Changes, Quicksand
1972: Ziggy Stardust…: title cut, Suffragette City
1973: Ziggy Stardust – The Motion Picture (live): All the Young Dudes, White Light White Heat
1974: Diamond Dogs: Rebel Rebel
1975: Young Americans: Fame
1976: Station to Station: title cut
1977: Low: Breaking Glass, Be My Wife
1977: Heroes: title cut
1980: Scary Monsters and Super Creeps: Fashion, Ashes to Ashes
1981: Under Pressure (single with Queen) – first on Queen’s Greatest Hits
1983: Let’s Dance: China Girl
1995: Outside: Hallo Spaceboy
1997: Earthling: Battle for Britain (The Letter)
2002: Heathen: Cactus, Sunday, Heathen (The Rays)
2003: Reality: New Killer Star, Pablo Picasso, The Loneliest Guy, Days

Saturday, May 8, 2004

In Concert: Styx & Peter Frampton

image from youtube.com

Venue: Verizon Wireless Ampitheatre; Bonner Springs, KS

Styx Set List:

1. Blue Collar Man (Long Nights)
2. The Grand Illusion
3. One With Everything
4. Lady
5. Too Much Time on My Hands
6. Snowblind
7. More Love for the Money
8. Medley
9. These Are the Times
10. Fooling Yourself (The Angry Young Man)
11. Miss America
12. Come Sail Away
13. Renegade (encore)

Monday, May 3, 2004

Marillion Marbles released



Released: May 3, 2004

Peak: -- US, -- UK, -- CN, -- AU

Sales (in millions): --

Genre: neo-progressive rock

Tracks, Disc 1:

Song Title [time] (date of single release, chart peaks) Click for codes to singles charts.

  1. The Invisible Man [13:37]
  2. Marbles I [1:42]
  3. Genie [4:54]
  4. Fantastic Place [6:12]
  5. The Only Unforgivable Thing [7:13]
  6. Marbles II [2:02]
  7. Ocean Cloud [17:58]

Tracks, Disc 2:

  1. Marbles III [1:51]
  2. The Damage [4:35] (10/11/04, --)
  3. Don’t Hurt Yourself [5:48] (7/12/04, 16 UK)
  4. You’re Gone [6:25] (4/19/04, 7 UK)
  5. Angelina [7:42]
  6. Drilling Holes [5:11]
  7. Marbles IV [1:26]
  8. Neverland [12:10]

All songs written by Hogarth/ Rothery/ Kelly/ Trewavas/ Mosley.

The Players:

  • Steve Hogarth (vocals, percussion)
  • Steve Rothery (guitar)
  • Pete Trewavas (bass)
  • Mark Kelly (keyboards)
  • Ian Mosley (drums)


3.818 out of 5.00 (average of 25 ratings)

Quotable: “A stunning collection of finely crafted songs with heartfelt lyrics that are very eccentric but stirring and often wonderful” – Neil Daniels, MusicOMH.com

Awards: (Click on award to learn more).

About the Album:

“There are not many artists who have the confidence or sheer talent to record a concept album in the artificial state of contemporary popular music…Marillion, the cult prog-rock band, have excelled themselves with Marbles; a superlative album largely made of atmospheric emotional pop reminiscent of Peter Gabriel-era Genesis and early Pink Floyd.” ND

Since their debut with “Script for a Jester’s Tear in 1983, similarities with the aforementioned bands have always plagued Marillion. The ‘other world’ artwork, extended songs and idiosyncratic music are blatantly going to result in the three bands being lumped together…Yet those inevitable comparisons should actually be seen as flattering, and they do not undermine Marillion’s brilliance at creating strong melodies and powerful emotions.” ND

“For many out there who only remember ‘Kayleigh’ from way, way back in the dark ages known as the mid-‘80s, this is not the same Marillion, yet in a way it is.” DD Marillion has not “changed or modernized their sound like so many bands attempt to do when their star begins to descend; [instead they just continue to] “evolve.” DD

“The band are aiming for windswept, organic rock and sound like a-ha meets Rush in a rest home for acid casualties. But there's a lot to like.” BC “Marillion…make the kind of music they want to make regardless of current public taste or persuasions of record executives. As the press release for Marbles states, Marillion refuse ‘to compromise by bowing to marketing pressures, focus groups or record labels.’” ND They “are underdogs, who after each album seem to disappear only to make a surprising comeback…They rarely enter any ‘Greatest Bands in the World’ polls, but superficial debates hardly concern them. They have a very strong and dedicated fanbase, who by pre-ordering Marbles helped to create campaign funds to promote the album” ND and pay the “band's recording costs, with the faithful rewarded by mentions in CD sleeves.” BC Few bands can claim to have such a mass of loyal, international followers.” ND

This same process “produced their previous effort, a quixotic blend of prog and trip known as Anoraknophobia. Their newest promised to be far more ambitious…it would be a two-disc set of new music housed in a hardcover book. Sounds interesting, but packaging music has little to do with music…The question was whether Marbles would be worth the hype.” DD

It proves to be “a stunning collection of finely crafted songs with heartfelt lyrics that are very eccentric but stirring and often wonderful.” ND What is noticeable about Marbles, and indeed most Marillion records, is the painstaking attention to detail - it is as if every lyric and every note was held under intense scrutiny in the studio until absolute perfection was achieved.” ND ”Where some groups are content to let their songs be soundtracks to their listeners’ moments, this group has collected a bunch of songs that cannot provide background. These songs are moments in and of themselves.” DD “Each song on the album has its own feel and identity. Constantly changing moods, Marbles is an unpredictable and dramatic, but intriguing journey…Jazz, pop, rock and even touches of techno have presence here; such talented musicianship and obvious love of music represents Marillion’s undeniable desire to evolve.” ND

“Steve Hogarth, the voice of the band, has come into his own as a lyricist, reaching down into the most poetic side of the group’s personality to produce songs with specific frames of reference but are not adaptations. Mark Kelly’s keyboards carry the full spectrum of sound, from the Fender Rhodes to the stars while Steve Rothery continues to be one of rock’s most overlooked natural wonders. Some rhythm sections just hold down a beat, but the complicated shifts of tone, from Beatlesque to jazz-inflected to a full-on crunch, is something bassist Pete Trewavas and drummer Ian Mosely make effortless, sounding instinctive. This band is a cohesive whole.” DD

“The overseer of this, Dave Meegan who has been with the band as producer since the early ‘90s, is now represented as the sixth member, and rightly so. His ear has helped define the unique…Marillion sound…With mixing assist from production wunderkind and Porcupine Tree impresario Steven Wilson, [Meegan] takes great care to keep things distinctively Marillion.” DD

The ”volatile” ND The Invisible Man, “opens the set with a trademark suite” DD “a 14-minute track that makes Meat Loaf/Jim Steinman songs seem like brief interludes.” ND “It is a brooding song with haunting vocals and a steady bass line” ND and it is “never so lingering as to grow boring, and always rising to peak and emotion.” DD

Genie shows the pop-rock side, something the guys have done for years, and how they’ve been ignored this long by the larger marketplace I’ll never know. I dare you to not be singing along by the end.” DD

“On every Marillion release there is a song that just gathers you up in a feeling, moves you and soars into the closing portion. This time around, it is Fantastic Place, a song that could be the best thing this group has ever done… From the low-key, blue-eyed blues in the opening one would never suspect the take-off coming, but when it does, the goosebumps must rise.” DD

“Disc one closes with another long piece that is as close as rock has ever come to sounding like an Ernest Hemingway novel. Ocean Cloud is a drama and shows how intense these players can get. If you thought ‘The Invisible Man’ rocked, just wait.” DD

“Disc Two finds the loose and sexy The Damage [and] the jazzy Angelina,” DD the latter of which is a “lovely hymn to a saucy breakfast show DJ.” BC

Second single Don’t Hurt Yourself “may be the closest Marillion will ever get to country music…With the acoustic guitar and a clean fill of steel guitar sliding, this is an excellent driving song filled with singalong potential and rolled-down windows.” DD

The first single, “You’re Gone…entered the UK charts at number seven, which proves that their reputation has not been tarnished…There is a void in the charts that is yearning for something new and intriguing, and Marbles comfortably fills that black hole.” ND This song displays “the disillusionment and sweaty fervor of a middle-aged crisis.” BC

“Interspersed between the two discs are four short segue pieces, Marbles 1-4. Each one acts as a magician’s left hand, misdirecting you while he sets the trick with the right. Some of them sound ready to burst into larger things while others shed a narrow light on the meaning behind the album’s title… Is it about nascent insanity, the loss of childhood innocence, the intended expulsion of childhood? The mini songs hint at all but still leave you guessing.” DD

“The set closes with the last of the long pieces, a rumination of love; the way that it holds us, heals us and sometimes haunts us. There are only fleeting references to Neverland’s characters of Wendy and Peter Pan. The song is more about the eternal man-child relinquishing his youth for that one, true love that does all the previously mentioned things. The music is both wonderful and sad, as if to comment that to love is to open yourself up to mortality, the ultimate end of both love and life, but it is somehow worth it. The tragedy is in leaving it unrequited.” DD

“In short, the band has produced the quintessential Marillion release, full of drama, mood, deep blues and euphoric highs.” DD

Notes: This double album was also released as an initially more widely available single CD German import. That track listing is as follows: 1. The Invisible Man 2. Marbles I 3. You’re Gone 4. Angelina 5. Marbles II 6. Don’t Hurt Yourself 7. Fantastic Place 8. Marbles III 9. Drilling Holes 10. Marbles IV 11. Neverland 12. You’re Gone (single mix)

Resources and Related Links:

Other Related DMDB Pages:

First posted 3/14/2008; last updated 3/6/2022.