Nightman Listens To – Marillion – Happiness Is The Road Volume 2 (Part 2)!

Marillion – Happiness Is The Road, Volume 1: Essence (2008, CD) - Discogs

Greetings, Glancers! We’re back for a run down through the next set of songs from Happiness Is The Road Volume 2. The guys had wondered if they could get through the whole album in a single episode, but luckily for us it looks like we’ll be going the distance – more episodes for us to enjoy!

Asylum Satellite 1 is as Prog a title as Marillion has devised since the Fish days. Long before I’d heard it, it already held a place of infamy in my head due to Paul referencing its horrible guitar sound in the past. I can see why he, and perhaps others, would consider this to be a grating sound. I’m not sure if it’s ‘supposed’ to sound harsh and uncomfortable, or if it’s meant to be just an interesting, spacey sound. If you think about a genre like Grunge – those bands knew that they were making ugly sounds with their voices and instruments, and leaned into it. I suspect this is simply a scratchy effect with Rothers thought sounded a little otherworldly and would suit certain songs – but that it had the by product of being unpleasant to the ears of many listeners. I don’t mind it; I’d probably be just as happy if it had been played clean or with any other effect, but it definitely isn’t the most appealing tone.

The song is nine and a half minutes long. Does it keep my interest for the entire duration? Not always. It’s a journey, but it doesn’t take many twists or shift gears. I prefer my epics to keep me guessing or to play out like a three act play in terms of engagement and pacing. This mostly remains plodding and returns to its central melodies repeatedly. That wouldn’t be a problem, but those melodies are mostly dull. Broken up by lengthy instrumental sections where Rothers gets to show off his new pedal, the only piece I truly enjoyed was the brief, plaintive vocal from H around the 5 minute mark. That’s a nice shift in tone and I wish the song had built from that point and gone in a different direction. Instead, we get another aimless and empty guitar solo and spacey instrumental which, yes, sounds like you’re drifting through space or whatever, but I imagine drifting through space is incredibly boring unless you’re under attack by Aqualish pirates. I don’t think any amount of chopping minutes out of the song would improve it for me – keep part of the intro, keep that middle piece, and entirely overhaul the rest of it.

The lyrics are similarly aimless and meandering and evocative of a journey. It’s nothing we haven’t heard from the band, or many other bands before – frustration, confusion, distance, all conveyed through a Sci Fi lens. It’s like that Halloween Simpsons episode where Homer gets on a rocket which is being fired into the Sun. Or whatever that episode was based on. Or like Battlestar Galactica. Or like The Odyssey. I like the idea, but in a nine minute song it says very little. The only line which may be vaguely interesting is ‘back in 22’, because we’ve just left 2022 and as far as I’m aware, very few people have gone galivanting through the stars in an attempt to spread Right Wing Christianity or whatever bollocks that musky fella is up to.

Older Than Me is a perfectly sweet song, maybe the most traditionally Marillion song on Volume 2 so far. It’s cleanly produced, it dispenses with the frills of the last few songs, and it provides a break in the album from the anarchy of Asylum Satellite 9. It’s just a little dull. It’s sleepy. It’s the sort of song which would verge on dirge territory if it was much longer. As it is, it’s just the right length to get its point across and retain its melodic and emotive qualities.

Like much of Volume 1, this is a showcase for Mark Kelly. I can’t tell if all of the little dings and bings are also keyboards or if they are some sort of percussion, but in any case it all serves to create this dreamy, fantastical sound, which of course serves the lyrics. There’s a risk when you write these almost opposing musical parts that they can conflict with each other and the whole becomes messy – the lead keyboard part and the more xylophone sounding part overlap and different points, but they end up complimenting each other even though they are both doing opposing things in isolation. Under all of this, the bass is doing a slight descending line to produce a resolution to the tension of each line. It’s all very well done. The breathy sighs of the backing vocals offer some additional layering and melody, and it’s an approach I don’t remember Marillion taking too often. Overall, it’s a great example of all of the various parts of the song working together to serve the whole – the lyrics serving the mood of the music and vice versa. I’d be interested in which was crafted first.

I admit there’s probably a case, if anyone wants to make it, for the ‘she’ in the song not being a person. Is it nature, is it the universe, that sort of thing. But that way lies madness, so I’ll stick with it simply being a song of lower tier infatuation, respect, love. The most simple explanation seems to be that it’s a song about the narrator falling in love with an older woman – that he has reached the point that the younger people he may have once been interested in and distracted by, no longer hold any allure. He doesn’t care that people may balk at him being with this person and any visible signs of age are meaningless because of the connection they have. It’s quite beautifully written and tender. If we’re following along the ‘story of H’ through his lyrics over the various albums, this feels like a new chapter in which he closes the door on the rock star playboy exploits of his younger days.

Between You And Me (@BYAMPOD) | Twitter

We kick off the latest episode of BYAMPOD with the chilling announcement that Paul and Sanja’s Marillion trip to the Netherlands is coming soon, and they’re not prepared for it. I don’t feel prepared for my trip to Menorca this Summer – the kids Irish passports have been rejected so we’re going right through that process again – but otherwise everything is in place. I say that I don’t feel prepared, but generally my wife does all the work and I just turn up on the day, hoping a couple of pairs of boxers have been packed. Menorca has become ‘our place’ – the first real holiday destination we all went on as a family, though this is going to be the first time we travel with our son. Good luck sleeping on the flight anyone who’s near my hyperactive three year old!

Fish’s competition – one ‘lucky’ winner going to his home to spend the day with him and his wife, sounds like the blurb for a cult-oriented horror movie. Dinner parties are not my thing either, there’s a formal pressure involved and I think of being forced into religious gatherings when I was young where I would have sold my soul just to get out of them. We don’t really have them in my house, thank goodness. Christmas, that’s about it. Pub – sure. Going to a restaurant, depending on who I’m going with, sure. Have I had dinner with any famous people… no-one anyone reading this would have heard of. Various Northern Irish pseudo-famous people, to the extent of being in Sport or Politics or some other nonsense I don’t care about. I can lie my way through any situation, but if someone gives me an invitation (intended or otherwise) to some punchline, lewd aside, or bizarre non-sequitur, you can be sure that I’ll respond in a socially unfortunate manner entertaining only to myself.

On to Asylum Satellite 1 and a Rothers quote about his guitar setup. Makes sense to me – I’ve never been fancy with my setup and just go with whatever sounds I can squeeze out of whatever I have. If I were a rich man, I’d certainly buy a few more pieces of equipment, but I don’t think I’d ever be a tech-boy. I’m more interested in the ideas and melodies when writing, and I leave everything afterwards to fate or the tech-boys. With that out of the way, the song has miraculously clicked for Paul. I was at a concert once – I can’t even remember who it was but I’m guessing Radiohead – and there was a guy with a pumpkin pie/Garfunkel hairdo who decided it was his role in life to stand directly in front of me for the entire show, with his arms folded, and didn’t move or sing or otherwise react for the entire duration. All 6ft something of him. In fact, the only time he ever moved was to re-position himself in front of me if I strafed to the side. It gives me no shame to say that he may have received a shin-related wound towards the end of the show during a particular rambunctious Nightman jump around session. I’ve never understood why people spend money to go to a show, and then visibly give off ‘anywhere but here’ vibes. This happens time and time again, the more gigs I’ve been to. It’s those guys, and then the people who are simply there to get pissed or stoned or start fights – I struggle with the purpose of their existence. I was stuck beside a group of these types the last time I saw Guns N Roses. That was a 100 Quid Plus show, and they sat almost the entire day, gradually getting more and more off their faces only to dance to Sweet Child O Mine, then resume their nonsense. I don’t get it.

Back to the song – it has grown on Paul and he now sort of likes it. Does this mean his opinion of Whatever Is Wrong With You is going to change? Rothers apparently improvised much of his work – on this song but also in general – while the song transports Sanja to a 1960s French film. I like Producers taking their songs apart track by track – what’s often most interesting is how much just gets shoved in to a mix and forgotten, whether it be a Producer splicing in parts from different takes, or one of the performers doing a bunch of overdubs and then those being added and swallowed up. In the old days, you would get a lot of ‘bleeding’ from different mics if the band was recorded their parts at the same time (for example, a singer might be recording his part in a booth while the band played along outside, but if they were playing loudly enough then part of that can be absorbed into the singer’s recorded vocals and offer something different from the actual, separate band recording). There was a Paul McCartney and Rick Rubin series where they broke down some Beatles songs and Paul was surprised by some of what they found when the tracks were isolated – all very interesting if you’re a fan. Yes, get Mike Hunter on. I’ll re-record whatever he says and everyone can laugh at my accent.

As epic a sound as the band may have been gone for, I can’t say it struck me as Cinematic and I didn’t get the feelings which Sanja did. It’s certainly spacey and futuristic, but it did little for me. Maybe in another 20 years it’ll mean something to me. I had just as little to say about the lyrics as I did about the music. Sanja goes down the Environmental route as the setup for the Space escape/exploration story, which seems reasonable given the band’s history and the increasing cultural awareness of this issue. She comments on the dual meaning of ‘Asylum’ which I admittedly overlooked or didn’t care enough about to catch, but that is interesting. Paul says he remembers H saying his inspiration for the song was simply about refugees and placing, perhaps undesirables. on a satellite and stick them in Space. Paul’s take is that it’s more generally a song about being an outsider, about feeling apart from whatever institution or group you find yourself part of or put in or related to. As out of touch as Matt Hancock is – I’m still mystified by the public electing to keep him in the show for so long. I get that him being tortured would have been good watching for a while, but the guy was good at the trials so any ‘justice’ by forcing him to eat testicles quickly waned, and I thought he would have been booted much earlier. Then again, the public voted for Brexit, so what the fuck to they know?

Not to make light of a complex issue, but I’ve long held the theory that we’re all outsiders, falling into two camps; those who want to fit in and those who don’t. That’s maybe a shit take, and it’s maybe be trying to resolve my own issues. I’ve always felt, no, I’ve always been an outsider. I make friends easily enough, but I typically prefer to be on my own, in my own space, or in my own head. However, I don’t like the perception that may go along with this – I don’t wish to come across as mysterious, wilfully distant, a social mess, or seem like I’m doing some bizarre reverse-attention seeking theatre, so that conflict compels me to argue that I’m not unique in these feelings and that we’re all in the same boat. Did a single word of that make sense?

I have actively rebelled against positions I’ve found myself in. For a time, nothing depressed me more than going out with my friends. These were people I loved. But I was utterly lost both during and after the experience. Was because what we were doing simply wasn’t my thing? Maybe I was simply growing more distant from them and felt like I had little to say. Maybe it seemed like they had their shit together, had a plan, and could cope with existing, while I had none of that. This would inevitably be turned, innocently, back around on me as I would be labelled ‘the quiet one’ while on the inside I was screaming. Conversely, in a one on one, or even with the same group but doing something different I would feel more like my natural self. Even now I struggle to understand the feelings and the behaviours I had – why was I like this? It didn’t, and doesn’t make sense.  While I can view all of this as something which happened a long time ago, I still feel it inside me, a doppelganger biding its time. I started having periods of what I now know as derealization, coming seemingly from nowhere yet possibly triggered by the fact that I did have shit together. That’s honestly terrifying – the world almost literally peeling away from my eyes like the encrusted pages of an ancient tome. I assume this is all some jumbled way of admitting that some form of depression has always been inside me, attacking out of nowhere, yet never with enough force that I haven’t been able to get through it.

In any case, I’ve always been happy to be an outsider, and ultimately secure enough in my self to be me without being concerned by what others may think of me. I’m going to write what I’m aware will come off as a terribly dickish thing to say, but people seem to like me more often than I like them. I’ll be funny or seem interesting one time, and people assume that’s me 100% of the time. Honestly, if you’ve read more than a few posts on my blog you’ll know that I’m really not all that interesting. That’s not to say that I don’t like the people who like me – 99% of the time I do, but some evolutionary, social trait of being an ape must have passed me by along the way.

I don’t feel like I need to be a part of any group – friends, job, fandoms, whatever. I enjoy talking about the shit I love with people who do, or might, also enjoy that shit – I’ve had a blog for thirteen years now – but I’m equally content with howling my opinions into the void. My need to talk doesn’t equate to anyone needing to listen. The by-product of this is loneliness. I miss the people I connected with and I get pulled into viewing the past as this rosy place, but when I take the high level perspective which Paul is talking about I can admit that I’ve always been this way. Back then I was physically closer to my friends and could more easily spend time with them, whenever I chose to. Now I live in the middle of nowhere, far from where I grew up (if you can consider the distance between one side of Northern Ireland to the other as far), and I’m more or less content even if I do get bouts of missing people. Enough!

How does this all relate to the song? Maybe all my rambling doesn’t, but what Paul says about being at a distance makes sense along with the lyric. We move on to Older Than Me, which apparently was planned for Somewhere Else. Sanja says the music has a nostalgic feeling, with Paul adding that it is just like a lullaby. Where I said it was traditional Marillion, Sanja feels like it’s not like anything else they’ve done. I suppose when I was saying what I said, I meant the chilled vibe, the slow pace. Paul doesn’t have a lot to add about the music, beyond it being sparse and simple. The lyric remains something of a conundrum, with Paul saying he thinks the song is praising maturity over youth while Sanja adds another layer in thinking that it’s a cousin to some of the previous songs in its opposing opinion to the mass consensus. The guys talk about society’s obsession with youth and how that has flipped in our culture from days or centuries gone by. Like Richey from the Manics said, ‘youth is the ultimate commodity’. I understand the attraction, especially the physical side of things, but as health continues to improve and lives continue to be longer than at any time in the past, it seems strange to me that we don’t rely on the experience which comes with age, especially when it comes to the Arts. Yes, it’s great to have new voices and perspectives and people who can connect more authentically to the latest demographic, but there has to be a place at the table for everyone. Extreme examples maybe, but if we’d binned Scorsese, Hitchcock, and Kurosawa at age 50 we’d have never had The Wolf Of Wall Street, Vertigo, Psycho, or Yojimbo. Similar examples can be found in literature and music too. I guess I have 10 years to go.

The worry for me is that, yes Marillion are still on the go, along with many bands from the 80s, 70s, and a handful from the 60s. But they are mainly legacy acts, living off an almost proxy fandom. Sure new kids are still, and will always find these acts and wish that they had been around to see them in their prime, but the concern is… are those types of acts being created today? Which bands or performers who hit their peak in the 2000s, or who are at their peak now, will either want to, or still be allowed to be relevant in their 50s? Beyonce? Bieber? Swift? No doubt some will, but will they create new music and will that music be recognized regardless of its quality? Will Adele’s inevitable album 50, be as revered as her 19? For me, as long as you want to do it, and can still do it, you should be given the opportunity to do so.

With that, we leave it for another week. I’m away to listen to some Metal which I missed first time around, another one of 2020’s most highly regarded albums, and finish off a Swiss Roll from Lidl – 10 portions my arse. Leave your thoughts in the comments, and as always, go listen to BYAMPOD!

Nightman Listens To – Marillion – Somewhere Else (Part 2)!

Somewhere Else by Marillion: CDs & Vinyl

Greetings, Glancers! Today, we return to Marillion’s Somewhere Else, the album with the unenviable task of following Marbles. In my Part 1 post, I concluded that the album was something of a mixed bag and very much scrawled a tick in the ‘does this song have good parts and bad parts in equal measure’ checkbox you see when Downing Street sends out their yearly Music Census. Will Part 2 follow suit or slide off a smelly cliff into Crap Creek?

Somewhere Else gets us back to what Marillion does best – chilled, atmospheric music with a melancholic edge. The first time I heard it, the opening gloomy but gripping mood had me lapping it up like a puppy at a pool of vomit. I was ready for it to be one of my favourite Marillion songs… but it loses its way. It goes on too long and perhaps has one section too many. Around the 3 minute mark the song seques into a Britpop, Beatles-esque section which tootles along for over a minute before morphing into an instrumental sequence which eventually leads into the booming ending. I think that the majority of that middle couple of minutes breaks up the momentum, tension, and sonic quality of the song and drags the whole thing down. There’s an excellent 4-5 minute song in here which hits all of my personal beats.  While I think it’s a B Grade song, even the easily missed moments such as the guitar complimenting the vocal melody on one of the final ‘somewhere elses’ are in themselves A Star material.

The intro and opening verse is some of my favourite Marillion work. If I were more technically proficient and savvy with Music Theory, I’d love to do a deeper breakdown of even the opening thirty seconds, because it’s so rich in detail and emotion, and made my body react in ways that are typically only reserved for my most favourite bands and songs. Hopefully it’s enough to say that the combination of the keyboard dancing between Minor and Major and the ghostly, wafting guitars creates that shadowy tone I’m always harping on about. It’s a tone which almost forces introspection. The verses are gorgeous, the chorus is too but could have been trimmed, the Britpop piece from 3 minute loses much of the minor chord impact and I the song doesn’t find its way back to A Grade quality until the the ‘Everyone I love’ section takes us into the crushing finale. While the middle section certainly doesn’t feel like it belongs in another song, I don’t think it needs to be here. I’m sure there are plenty who will enjoy that section and see it as a necessary bridge or maybe even prefer it to the start and finish, but for me it just slapped a roadblock between the two strong pieces.

The lyrics of Somewhere Else are what I wanted from Most Toys. This is the personal, incisive, insightful stuff I live for, this is what makes someone a fan and not some passive listener. It’s not new ground, but it feels like a summation of all of H’s previous attempts at examining the Rock lifestyle, its worth, and his relationship with it. They also lose their way in the middle, arguably becoming vague to the point of nonsense, but as with any truly great lyric its power doesn’t lie solely within the words themselves but how the words correlate to and collaborate with the music; this is where the opening and closing of Somewhere Else excel. I can feel the pain in the music, I can read the pain in the lyrics, smashing together to create a sense of grief even if it isn’t clear what has actually been lost. It’s like hopping channels and catching a snippet of someone crying, screaming, emotionally shattered on the News – you don’t know who this person is, you don’t know any of the details, but you know this person’s life has been ripped from them and in that moment you feel a fraction of that emotion yourself – not just a brief wave of empathy, but a shuddering ripple deeper in your core.

H’s delivery of the opening lines help things – the song has some of his best work. Some of his most unusual work too as he goes full falsetto to the extent that he doesn’t sound like himself. I love a falsetto. This is how I sing, or did when I used to. But I get that it’s painful for some listeners and I’m curious what others think of it. I’m not convinced it entirely works – maybe there are a few too many ‘look at myselfs’ when keeping that falsetto as a more brief surprise would have enhanced its potency.

A Voice From The Past has a haunting piano intro which does a good job of piquing my interest from the outset, but rarely expands beyond that to go anywhere interesting. I could see people calling it a dirge because it’s slow, its melodies are vague and bland, and it neither changes pace nor introduces any dramatic shifts in tone. There’s an increase in volume, a growth in instrumentation and chaos in the middle and this leads to a brief break in the lead piano motif, but for all intents and purposes the overall tone and feeling doesn’t vary. I’m not convinced that cutting any time from the song would improve it – some songs are beyond help. I don’t mean that to sound as harsh as it will come across on screen, it simply means that speeding things up or cutting out sections would either not improve my opinion towards the song or would change the song so much that it becomes something entirely new in which case I would be evaluating this new thing on its own merits.

I do like that piano melody – it’s a great way to start a song and could have led to something more interesting. It does a good job of setting up the introspective mood which allows H to tell the story of the lyrics. That introspective mood also forces the vocal melodies to be dull and derivative – it’s very close to being spoken word in places – but even in the space between the vocals, the music meanders along in loops.

The lyrics are more engaging than the music and the interplay between the words and sounds is very close, with the peaks in volume equating to the eruptions of written anger. I don’t know if the song is about a specific person, or if its a generalisation or characterisation of an imagined or potential individual or group – there are enough references to death, disease, germs to suggest that we’re talking about some unlucky soul who just happened to live in a place and time which wasn’t safe for them and is asking for help to ensure that the people who come after him will have more safety and better opportunities. Fate, circumstance, and futility come up – issues often ignored or not considered by those of privilege – and I can see an argument being made for the music deliberately being made to suit the mood of the lyrics and vice versa. As a call to arms, a rallying cry for change, it gets lost under the collective shrug of the music – protest songs and anthems tend to work best when the music is anthemic.

No Such Thing has much in common with A Voice From The Past – slow, introspective, gloomy in its outlook, and built around a recurring motif. Here, it’s a haunting guitar in place of the piano. The song’s placement in the album could be a major plus or a significant minus depending on the listener – the two are so clearly a pair that it makes sense to have them together, but the fact that both could be considered dirges means that having two such songs in a row risks creating a skippable section in the album.

That being said, this is a much more musically interesting and astute song. I like the riff, but it does wear thin around the hundredth rotation. The song is considerably shorter than A Voice From The Past and never reaches the point where I’m waiting for it to end, but I’m not sure there’s enough good stuff in there to make me deliberately seek it out or choose to put it on repeat. Interesting drum timbre, the bass is doing subtle funky stuff underneath, and the various twinkles and swells of the keyboards create a warmth that was lacking in the previous song.

The vocals are a little more than the one note slog of the previous song – the rotation of the song’s title a shade different each time, a slightly different note, inflection, or emphasis on a particular word and the reverb airy effect to add a somewhat robotic quality. I’m not sure what the intent was behind that effect – is it making a satirical point that the people who would make such statements are ‘there’s no such thing as an answered prayer’, are hopeless robots? I don’t think that’s the case because previous songs suggest H does feel some of these statements are true when it comes to women, religion, etc. Then again, some of these statements go against what H has said previously, so who knows? Is saying ‘there’s no such thing as the ozone layer’ him mocking climate change deniers, or him saying the atmosphere is now beyond repair?

I’m sure someone could or has spent more time going through the lyrics line by line to look for patterns or opposites than I’ll be arsed to, but one thing which immediately leapt out was the seeming opposition between the first two statements – ‘an unanswered prayer’ typically an argument made by people grounded in the reality which they see, atheists and scientists for example, and the ‘no such thing as an ozone layer’ typically made by those who deny science and typically accept things on faith. Unless, as mentioned, it actually means that there used to be, but we’ve destroyed it. Continuing the reality versus faith line of thought, there seems to be little connection to ‘no such thing as an action hero’, unless you want to define God in such terms. This opening verse more than anything creates an aura of helplessness – nobody is going to help you, and our environment is fucked. This continues into the second verse – everything is hard, every day is a pain, and you can’t escape.

The third verse is more of the same – you can’t hope for something more than this life, although the ‘easy girl’ seems out of place and fits more in the fourth verse and its overarching paranoia and cynicism. The whole song does a great job at conveying this gloomy, hopeless outlook, and feels like it could have fit on Brave as much as it fits here.

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The Heatwave hits its peak as the guys recorded their next Somewhere Else episode, while here in Northern Ireland our one day heatwave has long since passed. We begin with a little more history covering some of the songs which were written before Somewhere Else but which would instead end up on later albums or B Sides.

The guys enjoy the title track, not least because it wipes the memory of the preceding track. They find it the most Marillion song on the album. The ending is some of Paul’s favourite Marillion work while he thinks the many minutes before could have been cut. Same with me – I would certainly cut some of the middle section and I don’t think it would lessen the impact of the ending. Sanja gives her perspective on the lyrics – how H’s rock star lifestyle has been manipulative and of less value than a regular career. She does a much more detailed read than I did, making sense of some of the more vague lyrics which I glossed over. My high level overview hits on the obvious central point of H examining himself and his lifestyle with a critical eye. Paul adds the interesting point that, perhaps, Marillion’s greater success since H joined over the solo career of Fish is down to H’s ability and willingness to put his emotions on the line and be vulnerability and therefore being more relatable to the rest of us.

H being H, the song is more influenced by love, relationships, and feelings, than fame. H attributed the end of his relationships to his rock star lifestyle – everyone I love is somewhere else. The more vague elements of the lyrics are simply what H was looking at when he was writing. That ‘Mr Taurus’ rhyme never sat well with me either but I let it go because it feels as nursery rhymey as the music which surrounds it. I was convinced that the opening line says ‘shit’ and that the ‘ship’ I read on Google was a typo. ‘Ship’ is now irritatingly used as a short form for ‘relationship’ by youtubers and idiots these days, but now back then. Maybe he was trying to make it tie in to all the spacey stuff later. ‘Shit’ is better.

Oh, Paul then goes on to answer one of the questions I sent in last week for a future postbag episode. I promise, I had not heard this episode before I sent those three questions. My question was ‘what’s your favourite run or sequence of songs without a dud on any Marillion album’. Maybe this isn’t his absolute favourite. Lets see what he thinks of the next couple of songs as I found them both mostly dull and potentially skippable.

A Voice From The Past he loves the drifting sound and the lyric. For me it was mainly the piano and lyric which worked, but the piano was just so repetitive. It was the Make Poverty End song. Makes sense. There are plenty of songs and pieces of fiction which hinge on those warnings from the past. I briefly commented on the lyrics and didn’t pick up that this was the poverty song, but taking it out of that context it does seem to be asking people to think about others for a change, a thought which has somehow become political because politics is such nowadays that the opinions of the other side must be attacked without question, almost without exception. The Left is no longer seen as the working class party for all, but The Loony Left, synonymous with whatever religious, financial, or biological strawman The Right can cook up. Enough!

Back when I was genuinely writing lyrics, I would painstakingly write and rewrite till they were what they were supposed to be. Still shite, of course, but shite I was proud of – difficult to flush and hard to forget. With these posts and the vast majority of my blog, I just type and go with my only edit being a quick check for typos. A writer by trade should of course take a hell of a lot more due diligence with what they publish, even running it by your editor and colleagues, and anyone else who may have a perspective. This paragraph is a good example – should I just delete it because Sanja is now talking about Almond milk (I’m an Oatley boy) and whatever they were talking about with respect to writing has now passed. Ah well. Go with my charity idea from the previous post – not saving the world, but making incremental, achievable fixes to reduce the amount of nonsense we face. Number 9. Number 9. Number 9.

Paul does a nice transition between Planet Caravan and No Such Thing – I can’t say I noticed this even as a Black Sabbath fan (ish). I will say that this trippy, now called Stoner/Doom Metal style, has been aped many many many times over the years, with plenty of bands taking their complete inspirational from that single song. Sanja takes a shot at the lyric after Paul saying he doesn’t really know what it’s about, while I went off on one about religion. As the guys suggest, it seems to just be a song of hopelessness, while Sanja says it could be a call to arms for us to make the world better for ourselves, before dampening the mood by saying she’s been cheating on Paul. /S.

Not to harp on again The Manics again, but there’s quite a lot of the defeatism of The Holy Bible in H’s lyric here, and quite a few closer similarities in the metaphors. ‘Just an ambulance at the bottom of a cliff’. ‘Beauty she poisons unfaithful all, stifled, her touch is leprous and pale’. ‘The only way to gain approval is by exploiting the very thing that cheapens me’. It has been a while since my last Manics mention, so humour me. It has been a cynically charged episode, so it fits. Incidentally, new Manics reissue of Know Your Enemy coming, with a couple of ‘new’ songs. Man, that album was slaughtered upon release. It is a bit of a mess, but it’s a Manics mess. It’s raining again.


Calling All Gamers!!!

!!! I’m aware I only have about twelve readers (which is a shame because I always assumed there were more sadists in the world), and that most of you come here for my movie reviews (you should really have a hunt around at my other posts – music, TV – they’re all hilarious!) but sometimes I have the odd post about videogames. Most of my posts tend to be on the retro side, due to the following reasons – first, when a new game is released, every chump with a blog is talking about it and I have this thing about doing the opposite of what everyone else is doing, and second, I tend not to buy games as soon as they’re released anyway. With two kids and a wife and a job and a cat and a garden and various secret lives to consider, my gaming time is limited, meaning I watch the odd bit of Youtube coverage to scratch my bitch (itch). From comedy diversions such as Vanoss and his crew, to ma boi Dashie’s skits, scares, and screams, to watching all those city building games I’d love to have, it’s sometimes how I get to sleep. Wouldn’t it be great though if there were a dedicated videogame show on Youtube – one which scratches multiple itches (bitches) and caters towards my sense of humour and style of gaming? Yes…. that would be wonderful.

Enter Digitiser The Show? What is this, you may ask. It is thus, I may say. I will say it and it is thus – the brain child of one Paul Rose, aka Mr Biffo, aka, the finest videogame journo type boyo in the world. If you live anywhere outside of the UK you likely won’t know him, or his most famous previous work – Digitser. Back in the early Nineties, long before we had dial-up screeching through our phones, us pasty British and Irish types had a thing on our TVs called Teletext. BBC had Ceefax, ITV and Channel 4 had Teletext (Channel 5 had Shannon Tweed, but that’s another story). Both were essentially regularly ‘loading’ magazine pages – there were news and sports sections, holiday sections, TV guides etc. My dad especially loved the business and shares section where he would sit patiently, cracking walnuts, while page 16 of 42 rolled around so that he could see if his ‘footsy’ had gone ‘up a shilling’… I still don’t understand any of that stuff.

As has become the lore of many a thirty something Brit, a pre and indeed post school ritual was to check Digitiser for our daily Mario and Sonic info squirts. It was a videogame magazine consisting of news, reviews, charts, characters, and funnies. Ooh the characters and funnies. It was the world’s only daily gaming magazine, but it was written with an often bizarre humour which quickly enamoured readers into a cult following. A letters page helped this underground movement of weirdos to spread and soon Digitiser had an average daily readership of loads. For ten years it blazed a trail which many have emulated so varying degrees of success and copycatism. In 2003 it all ended – I was in the middle of University and failing to blaze my own trail, so it seemed fitting that all good things were coming to an end.

You can’t keep a good thing down (unless it’s pavlova – I could keep a whole one down every day) and Digitiser made a triumphant return online a few years ago. You can find it here – I implore you all to read, for non-biased gaming banter at its finest. While Biffo looks at everything from gaming ‘politics’ issues to the biggest triple ooh title, to the littlest Indie nips, he also indulges in a few helpings of retro pie. With twenty years of experience of writing on the subject, his knowledge is wide and it’s immediately clear he has a love for playing and talking about this lowliest form of entertainment. What I’m saying is that if you love gaming, you’ll enjoy Digitiser. If you enjoy humour in the vein of Reeves and Mortimer, Harry Hill, Monty Python, non-sequiturs, farce, and general nonsense, then you’ll love it.

While I would love it if his readership increased, and I hope he gets some new fans due to people stumbling on this post, what I really wanted to highlight was that Biffo has a Kickstarter set up for arguably the best thing ever. Yes, you guessed it, Biffo has taken it upon himself to create Digitiser The Show – an online series featuring some of your favourite gaming peeps – Biffo himself and a variety of his famous characters, Larry Bundy Jr, Ashens, Violet Berlin, Gameplay Jenny etc. In fact, do yourself a pleasure and read all about it in his own words at this link. The short version is that he wants to resurrect a gaming show similar to the good ones we used to have – Gamesmaster, Bad Influence, but that it will primarily deal with retro games. He has described it as like Top Gear but with games instead of cars and Clarksons. If this doesn’t sound like it’s right up your orifice, then I want nothing to do with you. If you’re intrigued, why not visit the Kickstarter page or the Digitiser2000 site and read some of his work. Even if you don’t like it… wouldn’t it be nice to have a professional, mid budget dedicated games show on Youtube? Shouldn’t we be supporting the things we love? While neither me, nor he, are begging for donations, it would be great if anyone reading this hops on over and gives some of their ill-gained moneys for the cause. The Digi shop has lots of cool stuff too (I’m writing this while wearing my Digi Sgt Pepper’s shirt), and there are a load of perks for getting involved. Any support, even if it’s just becoming a reader, would be great.

Two final spurts before I’m done; last year Biffo created another online series – not really related to gaming, but worth a watch for any fans of the aforementioned comedians – you can find Found Footage online here – you’ll get an idea of the talent involved, the cameos, and the content, though I imagine the complete buck nuts Biffo humour will be diluted, for lack of a better term, on the gaming show. Biffo raised over three times the amount he needed for his first goal within 24 hours, so it is happening – how much of it actually happens could be DOWN TO YOU! I think we all want to see a goujon being launched into Space, don’t we? Enjoy this launch trailer too. Ahoy!


Funny Me Do

Greetings, zzrrrrp! It’s that time again where we can remember some classic jokes from that noted Galaxy famous comedian, The Man’s Daddy. If you like to laugh (cry) then open your ears and LUKE AT THUS!

Q: Why is the planet Mars so red?

A: Because so many ginger people live there!

Q: Why do bees buzz?

A: Because they’re not tuned in properly!

Q: Who does Paul Weller look like?

A: My friend’s dad!

Q: What do you call a monkey with mustard on its hands?

A: Poupon 7!


What do you call a man whose top is made from trees and who likes to throw cutlery from high buildings? Head-Wood Sky Soar Pans! (Edward Scissorhands)

Edward Scissorhands is a terrifying, grim fairy tale, the story of a deformed boy with scissors stapled onto his arms in the place of hands. It is a well known fact that Vinnie Price went buck nuts before he died, believing that he was a real mad scientist. He began experimenting on neighbourhood runaways, cutting them up and replacing their limbs with household appliances- he would sand off their feet and replace them with a couple of hairdryers; he scooped out their eyeballs and inserted Christmas lights; he ripped off their danglies and tied on glue guns. The list goes on- all I will say is that this is where Radiohead got their name from. Tim Button, fresh from his success with his version of Batfink which made enough money to let him make whatever film he wanted. He decided to base his next film on the continuing existence of one of Prince’s creations- Edward. It is made all the more horrific by the fact that a love story is tacked on along with some rather sick slap-the-stick comedy.

The film stars Julia Roberts as a suburban saleswoman. In a clear rip off of off Desperate Houses, all the women are sneaky, self interested pointlessly neighbour obsessed with lives so empty and meaningless that the only way to fill the void with something other than outright hatred for themselves is to spy on their equally vacuous mud dwellers. Julia decides one day to go up to the spooky castle at the bottom of her street to try to sell her magic beans there. Inside she finds (amongst an assortment of fetishist, S and M torture devices) a lonely young man called Edward. He seems normal other than the fact that he has scissors for his hands and is a complete weirdo. Naturally, Jaunty Depp was picked for the role. Judy takes him home to meet her family- husband Richard, son Barry, and daughter Winrunner Rideher. Eddie falls in love for Wineowner but she calls him a hippie and has an affair with local jock Rob Lowe. Jedward goes buck nuts and begins having visions of his daddy, Vinnie Jones, who advises him to become an assassin. He does, and the rest of the film is a blood soaked snowstorm of necks being sliced, eyes being gouged (with the camera placed on the tip of the scissor for maximum effect), and limbs removed as Tom Button shows his utter disdain for everything wholesome; it is basically him saying that he wishes everyone would murder everyone else and leave him alone to draw his zany pictures. The worst thing is, when Ed gets paid he can’t count or spend the money as he keeps accidentally ripping it up. The scene where he moves from house to house impaling and mauling all the pets is so awful I may well have invented it just so I don’t have to remember it. The thing comes to a climax when the FBI come to take Edwood away and he holds Winoprah hostage at the top of his castle. Helichopters swoop around the pair while he has a slow motion fight with their propellers. He finally cracks, and cuts off his beloved’s head and legs and is subsequently shot to pieces by the Feds. As the sad music rises, Winnie’s blood drops onto the floor and we fade to white.

Best Scene: The ending, where we fade back in to find that it is the future, and Wimpy is alive and well and a granny. Surgeons were able so sow her head and legs together with a thin strip of her torso, though her midriff is completely gone. She is telling her granddaughter this story (I assume the young girl was naughty and this is her horrific punishment). The child asks, ‘What happened to Ed, granny?’ Winotebook replies ‘Ed’s dead, baby. Ed’s dead’ before racing off on her space age mobility cycle.

Do You See?