The Rest of Both Worlds Online

The Rest of Both Worlds Issue 4

Issue 4 of ROBW started shipping on the 1st September 2000. Full, as always with a variety of articles, reviews and humour, it is available now by mail order - see the Ordering info for details...

Features:

5 Years of AOS

by Bob Struthers

"AOS rests more strongly on its concept than initially seems to be the case. Whilst the fortuitous dovetailing of the OJ Simpson case and the already-in-production lyrics of Gazpacho, and the overt tribute to Cobain in King give the album a cutting edge contemporary feel, there is also a timeless quality to the 'pressures of the fame industry' theme. The fact that the issue is dealt with almost entirely in the third person also exonerates the album from accusations of self pity that have dogged other attempts to tackle it, such as most famously The Wall or even Fish's Suits. This theme is also alluded to on Clutching, the best of the Fish era releases (and along with Vigil, his lyrical peak), and this link possibly also provides a clue as to AOS' popularity."

The Lizard Meets Steve Wilson

"I don't understand why. I'm a professional musician, okay - I don't do anything else. This is what I do - I make music. It doesn't take my whole life, you know - Porcupine Tree does not take up my whole life. Let's say even if we made a record every year, which is not very likely. We spend three months making a record, three months touring - what do I do the rest of the time? I don't understand? What do all the other bands do? That's one point I will make. The other point is that I meet a lot of people in the industry that have got to the point where music is their career, but they're not necessarily still excited by music, if you know what I mean. It's like their career - it's like 'Oh I have to make an album', but to be honest it can equally be going to the office every day; it's become just another job to them. It's never been that way for me and, touch wood, it never will be. I still find myself massively enthusiastic about music."

We also feature a complete guide to the available albums from Steve Wilson's back catalogue, featuring Bass Communication, IEM, No Man and Porcupine Tree.

Reviews

Porcupine Tree - Lightbulb Sun

by Rich Harding

"To continue the earlier visual analogy, there is a third type of track on this album - unfortunately this is the bad art house movie, showcased ably by Russia on Ice. I would have extreme difficulty finding a better example of 'pointless noodling' than the last six minutes of this track - in fact it's less art house movie than trying to play noughts and crosses with the test card girl. And it starts so beautifully - subdued, moody atmospherics preparing a steel blue stage for suitably cold sentiments. Its fall from grace begins with Dave Gregory's strings, which jump from background bit-playing to gratuitous over-production just after the 6-minute mark, and then the band inexplicably wander off into the musical outback with less of a clue than Tina from Casualty."

The Silent Buddahs - Virtual Lifers

by Walter Dunlop

" 'Psychic Hygiene' continues the groove rather nicely, and will have you frugging about your living room in a pleasant manner. Squeeks continues to play a blinder, as does Wes. Which is just as well, as we appear to be blithering on about the dangers of being too easily influenced and following bad advice blindly. Sorry kids - we've already fallen to the god of prog around here, and we don't shift our allegiances that easily. Although obviously, the previous God was so much better than this new God we've got now. He did longer, more intricate sermons and the time-changes were so much more interesting."

The Positive Light - Miracle Seekers Use Separate Entrance

by Rich Harding

"My second negative now - why do people continue trying to make 65-minute albums out of 50 minutes worth of material? It's a double shame here too, as some of the tracks (the Katherine Crowe leads - Soundtrack To The Journey Home, mentioned earlier, and Your Love Is An Illusion) detract horribly from the overall mood. Nevertheless, the middle of the album still manages to hold three excellent compositions in God Knows (I still haven't worked out if this is about TV evangelists, Fish, or both!), Watch This Space - I'm convinced the first sample is Brian Archer (!) - and the Bristol Sound homage, Pocket Book Icon (which latter could perhaps do with losing the Pete Beale spoken word bit, and maybe the last verse too). Also worthy of remark in these pages is the final sample, taken from the travesty that was the Brave movie, no less."

The Fish Era Singles Box Set

by Ed Elloway

"It would be a whole year before Marillion released another single, and when they did it went to No. 2 in the UK, only held off the top spot by a charity single. Needless to say it remains their best-known song, although whether this is just is open to question - it is a great song, but their best single? Still, charts are funny things and are perhaps beyond question."

The Company Issue 30 CD

by Ed Elloway

"Unfortunately the introductions are at a much quieter level than the music, but Fish next talks about how the hell he was going to perform 'Plague Of Ghosts' live, this being the first proper gig of the tour. This reminds me that when the track was performed Fish was using a music stand with the lyrics written out. At times, particularly for the spoken sections, he was staring at the sheets in a way that definitely suggested he was thinking 'Who wrote this rubbish?'! Rubbish, it is not, however, and it is a treat to hear the piece again, especially with most of the ending captured where each band member left one by one but the audience carried on with the 'Make It Happen' section a cappella until the band returned."

Candlelight in Fog

by Andy McIntosh

"Next up is a rather long build up that you really had to be there to understand, up 'til this point in the tour Russell the guitar tech had played the part of a wine waiter bringing on a bottle of red for Fish to sample. On this occasion Russell unknown to Fish had been replaced by the gorgeous Susan Goddard from Canada which came as a bit of a shock to him (Hey the next show in NYC featured Susan again but this time without her trousers!!!)"

Live Reviews

The H Band - Camden Dingwalls 8th and 9th of August 2000

by Andy Sanderson and Tony Makos

"The main set was rounded off with two more ICG tracks. Until You Fall kept the audience rocking along - this band do seem to enjoy themselves! Even Richard Barbieri was seen to smile…The Last Thing was indeed the last thing, and after this the band disappeared, probably to towel themselves off! Did anyone else notice that all the tracks off ICG were performed in the same order that they appear on the album?"

Transatlantic Live

by Michael Weintraub

"Mike Portnoy's drum roadie had the roughest time, though, as a boom microphone on a swinging overhead mic stand (really, you had to see it) was required occasionally during the set. In mid-song, Portnoy would look over his shoulder at his tech and mouth something like "Now!" to him. The tech, bored previously, would awaken long enough to swing the boom mic around to him, only to swing it back out of the way upon completion of the necessary vocal part."

Fun and Games

The continuing extracts from Ian Mosley's diary: "Had a call from Roger Taylor this morning, just before I left for the Racket Club. He's been utterly insufferable over the whole "We Will Rock You" thing. I keep getting phone calls at four in the morning saying things like... "I've been trying to remember, Ian. How many Brits awards have you played at...?", followed by a manic cackle and the sound of the phone being slammed down."

The Lizard's Weird and Wonderful World of Marillion takes a behind the scenes look at Marillion's publicity machine…