Fugazi | ||||
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Studio album by | ||||
Released | 12 March 1984 [1] | |||
Recorded | November 1983 – February 1984 | |||
Studio |
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Genre | ||||
Length | 45:56 | |||
Label | EMI | |||
Producer | Nick Tauber | |||
Marillion chronology | ||||
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Singles from Fugazi | ||||
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Review scores | |
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Source | Rating |
AllMusic | [3] |
Fugazi is the second studio album by the British neo-prog band Marillion, released in 1984. Produced by Nick Tauber, it was recorded between November 1983 and February 1984 at various studios and was the first to feature drummer Ian Mosley, following the dismissal of the band's original drummer Mick Pointer.
The album is titled after a military slang term well known at the time of release. According to AllMusic, the album "streamlined the intricacies of the group's prog rock leanings in favour of a more straight-ahead hard rock identity". [2] Built upon the success of its predecessor, Script for a Jester's Tear , Fugazi reached the UK top five [4] and was certified Gold. [5]
Following their first album and its support tour, Marillion found themselves behind schedule, under pressure from EMI Records to deliver a second album. Producer Nick Tauber worked the band hard, having them stop into various rehearsal and recording studios to write songs, and to find a drummer. All three drummers to date - Mick Pointer, Andy Ward and John Marter - had been fired. [6] American drummer Jonathan Mover auditioned in London in September 1983, and two days later was performing with Marillion in Germany.
Marillion settled into Rockfield Studios in Wales to compose some songs. According to an interview with Mover, the various band members had been working separately on songs when the band's front man, Fish, asked whether they agreed with his new idea that it should be a concept album like Pink Floyd's The Wall . The more veteran band members said "maybe," but new drummer Mover said it was a bad idea, that the current crop of songs was not connected by any theme, and would have to be scrapped. According to Mover, Fish took this as a challenge to his authority and he was fired from the band. [6] Fish recalled, "Jonathan Mover left me cold, but the musicians loved him because he was super-technical. I felt I was being railroaded. All he could talk about was drums, and he didn’t fit in to the band's social element." [7] Mover received a writing credit for the single "Punch and Judy". [8]
The production schedule ran so late that Marillion had to begin their album support tour with new drummer Ian Mosley before the album was ready. [6]
Reflecting on his guitar work on the album in a 2022 interview, Steve Rothery said, "The thing about the sound of Fugazi is because at the time it was recorded there was a fashion to make everything very clean and bright sounding. So for me some of the guitars on Fugazi are too bright, there is not enough warmth in the sound. By the time we did Misplaced Childhood in Berlin with Chris Kimsey, who obviously worked with the Rolling Stones, I think I had the best of both worlds: I had that full, chiming sound but recorded in such a way that it wasn't brittle sounding like some of the sounds in Fugazi." [9]
As Marillion used ten different studios to record the album and the line-up had undergone a change, Fugazi proved to be a slightly incoherent follow-up to Script for a Jester's Tear, which was noticed in the retrospective review by John Franck of AllMusic. He awarded the album a four-star rating, singling out such songs as "Assassing", "Incubus", and "Fugazi". [3]
Writing for Ultimate Classic Rock, Eduardo Rivadavia observed:
Fugazi proved just as diverse, ambitious, even preposterous (in the best possible prog-rock sense) as Script. They matched epic, complex musicianship with oblique wordplay to perfection on the likes of "Assassing", "Jigsaw", "Incubus", and the title track – all of which would become perennial concert favorites for years to come. If anything, the new album was, at once, more polished (in terms of both production standards and song arrangements) and a tad less consistent than its predecessor, unquestionably falling short of heightened expectations on the somewhat less-than-stellar "Emerald Lies" and certainly the subpar "She Chameleon". [10]
Fugazi reached number 5 in the UK Albums Chart, spending a total of 20 weeks there. [4] It was certified Gold by the BPI on 9 July 1985 for sales in excess of 100,000 copies. [5] The album produced two singles which became top 30 hits, "Punch and Judy" (UK no. 29) and "Assassing" (UK no. 22). [11]
The album was initially released on LP [nb 1] , 12" picture disc and cassette. [12] The first CD issue [nb 2] appeared sometime afterwards.
As part of a series of Marillion's first eight studio albums, EMI Records re-released Fugazi on 23 February 1998 with 24-bit digital remastered sound and a second disc containing bonus tracks [nb 3] . The remastered version was also made available without the bonus disc in 2000 and again in 2005 as a Japanese mini-LP replica [nb 4] .
A new 180g heavy-weight vinyl pressing identical to the original 1984 edition [nb 5] was released in 2012. [12]
On August 31, 2021, a deluxe edition of Fugazi was released via Parlophone as a 3CD/Blu-ray set along with a 4LP boxed version. The deluxe edition includes a completely new remix of the original studio album and a live concert recorded in Montreal, Canada on June 20, 1984 (which had previously been partially available on Real to Reel ), as well as, on the Blu-ray disc, new high-resolution stereo and 5.1 surround remixes by Avril Mackintosh and Andy Bradfield. The set also includes a 'making of' documentary containing interviews with all then band members as well as their track by track breakdowns of the genesis of each of the songs. Also included is a live concert from 1984 that was filmed and broadcast by Swiss TV.
In 2012, Gigwise chose the sleeve design by Mark Wilkinson as 29th in its countdown of the "Greatest Album Artwork of All Time". Holly Frith wrote: "Despite the arguable quality of their music, Marillion most certainly gave a shit about their album artwork and this multi-tiered image of a young man suffering an apparent overdose is their most startling, brilliant and thought-provoking." [13]
All tracks are written by Fish, Mark Kelly, Steve Rothery, Pete Trewavas, except where noted
No. | Title | Writer(s) | Length |
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1. | "Assassing" | 7:03 | |
2. | "Punch & Judy" | Fish, Kelly, Rothery, Trewavas, Jonathan Mover | 3:22 |
3. | "Jigsaw" | 6:51 | |
4. | "Emerald Lies" | Fish, Kelly, Rothery, Trewavas, Ian Mosley | 5:12 |
No. | Title | Writer(s) | Length |
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5. | "She Chameleon" | 6:55 | |
6. | "Incubus" | Fish, Kelly, Rothery, Trewavas, Mosley | 8:32 |
7. | "Fugazi" | Fish, Kelly, Rothery, Trewavas, Mosley | 8:03 |
Total length: | 45:56 |
No. | Title | Writer(s) | Length |
---|---|---|---|
1. | "Cinderella Search" (12" version) | Fish, Kelly, Rothery, Trewavas, Mosley | 5:32 |
2. | "Assassing" (alternative mix) | 7:41 | |
3. | "Three Boats Down from the Candy" | Fish, Kelly, Rothery, Trewavas, Mick Pointer, Diz Minnett | 4:01 |
4. | "Punch & Judy" (demo) | Fish, Kelly, Rothery, Trewavas, Mover | 3:51 |
5. | "She Chameleon" (demo) | 6:34 | |
6. | "Emerald Lies" (demo) | Fish, Kelly, Rothery, Trewavas, Mosley | 5:33 |
7. | "Incubus" (demo) | 8:10 | |
Total length: | 41:20 |
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Chart (1984) | Peak position |
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Canada Top Albums/CDs ( RPM ) [14] | 71 |
Dutch Albums (Album Top 100) [15] | 29 |
German Albums (Offizielle Top 100) [16] | 42 |
Swedish Albums (Sverigetopplistan) [17] | 23 |
UK Albums (OCC) [18] | 5 |
US Billboard 200 [19] | 209 |
Chart (2021) | Peak position |
---|---|
Belgian Albums (Ultratop Flanders) [20] | 71 |
Belgian Albums (Ultratop Wallonia) [21] | 31 |
German Albums (Offizielle Top 100) [22] | 4 |
Hungarian Albums (MAHASZ) [23] | 6 |
Polish Albums (ZPAV) [24] | 22 |
Scottish Albums (OCC) [25] | 9 |
Swiss Albums (Schweizer Hitparade) [26] | 13 |
UK Rock & Metal Albums (OCC) [27] | 4 |
Region | Certification | Certified units/sales |
---|---|---|
United Kingdom (BPI) [28] | Gold | 100,000^ |
^ Shipments figures based on certification alone. |
Marillion are a British neo prog band, formed in Aylesbury, Buckinghamshire, in 1979. They emerged from the post-punk music scene in Britain and existed as a bridge between the styles of punk rock and classic progressive rock, becoming the most commercially successful neo-prog band of the 1980s.
Ian F. Mosley is an English drummer. He is best known for his long-time membership of the neo-prog band Marillion, which he joined for their second album, Fugazi, released in 1984. He had previously been an in-demand session drummer. Mosley's abilities have been widely praised, including by former Genesis guitarist Steve Hackett, Meshuggah drummer Tomas Haake and critic John Franck of AllMusic. Modern Drummer has characterised him as a "drumming great".
Clutching at Straws is the fourth studio album by the British neo-prog band Marillion, released on June 22, 1987. It was the last album with lead singer Fish, who left the band in 1988, and is a concept album.
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Brave is the seventh studio album by Marillion, released in 1994. It charted at number 10 on the UK Albums Chart, being the last of the band's albums to reach the Top 10 in the United Kingdom until F E A R reached number 4 in 2016.
Script for a Jester's Tear is the debut studio album by British neo-prog band Marillion, released in the United Kingdom on 14 March 1983 by EMI Records. The album reached number seven and spent 31 weeks in the UK Albums Chart, eventually achieving a platinum certificate, and produced the top 40 single "He Knows You Know" and the top 20 single "Garden Party".
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Best of Both Worlds is a two-disc compilation album by British neo-prog band Marillion released in 1997 by EMI Records, who the band had been signed to from their debut in 1982 until being dropped in 1995. The title refers to Marillion's two distinct "eras" with lead singers Fish (1980—1988) and Steve Hogarth. By the time this compilation was released, both line-ups had recorded four studio albums each. The second best-of since the 14-track one-disc compilation A Singles Collection from 1992, this one additionally contains material from Brave (1994) and Afraid of Sunlight (1996). Two different covers were created for the compilation, one by Mark Wilkinson, who had worked for the band during the Fish years, and one by Bill Smith Studio, who took over after Fish's and Wilkinson's departure. The booklet was printed so that either of the covers could be displayed in the jewel case according to personal preference. The track list, comprising 29 songs, was put together by Lucy Jordache, then the manager responsible for the band in EMI, in close collaboration with the band's fans' mailing list, "Freaks". Jordache also motivated singers Fish and Hogarth to contribute liner notes—at a time when both camps were not yet on friendly terms again—by telling each of them the other had already agreed to do so.
This Strange Engine is the ninth studio album by the British neo-prog band Marillion, released in April 1997 by the Castle Communications imprint Raw Power. It was the first of the three recordings that Marillion made under contract with Castle, after being dropped by EMI Records in 1995 and before eventually going independent in 2000. The album was recorded at The Racket Club in Buckinghamshire, England, between August and November 1996 and was produced by the band themselves.
Radiation is the tenth studio album by the British neo-prog band Marillion, released in 1998. Recorded at The Racket Club between November 1997 and June 1998, it was co-produced and mixed by Stewart Every. The album was remixed by Michael Hunter in September to November 2012 and a reissued remastered version was released in 2013.
Anoraknophobia is the 12th studio album by the British rock band Marillion, released in 2001. It is regarded as the first instance of a music recording completely financed by fans in a then-unique fundraising campaign, as 12,674 copies were pre-ordered before the album was even recorded.
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The Thieving Magpie (La Gazza Ladra) is a double live album by the British neo-prog band Marillion. It was named after the introductory piece of classical music the band used before coming on stage during the Clutching at Straws tour 1987–1988, the overture to Rossini's opera La gazza ladra, which translates as "The Thieving Magpie". The album was released shortly after singer Fish's departure from the band (and before Steve Hogarth's arrival) and was intended to document the "Fish years". It complements the band's first live album Real to Reel insofar as there are no overlaps. The Thieving Magpie is not a continuous live recording, but a compilation of tracks recorded at different times and places, with audible gaps between them and different moods on the individual tracks. However, the double vinyl version does include the first side of the UK number one concept album Misplaced Childhood (1985). The CD and cassette version includes the full album, as well as the track "Freaks" – originally the b-side to "Lavender", it was used as the lead single for The Thieving Magpie peaking at no. 18 in the UK.
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