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Showing posts with the label pete trewavas

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Marillion - Sounds That Can't Be Made

August 07, 2025

gaza less is more lucky man marillion mark kelly Montreal pete trewavas pour my love power progressive rock sounds that can't be made steve hogarth steve rothery

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Marillion - Happiness Is The Road

dreamy street Essence happiness is the road marillion mark kelly pete trewavas steve hogarth steve rothery the hard shoulder the man from planet marzipan thunder fly trap the spark volume i volume II

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Marillion from a Swedebeast's point of view - 'Marbles'

angelina anoraknophobia don't hurt yourself fantastic place ian mosley incommunicado marbles marbles ii marillion mark kelly pete trewavas steve hogarth steve rothery the invisible man you're gone

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Marillion From A Swedebeast's Point Of View

anoraknophobia between you and me map of the world marillion mark kelly pete trewavas progressive rock steve hogarth the fruit of the wild rose this is the 21st century when i meet god

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Marillion from a Swedebeast's point of view

October 15, 2019

a legacy built-in bastard radar deserve enlightened house ian mosley john helmer marillion marillion.com mark kelly pete trewavas radiat10n rich steve hogarth tumble down the years

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Marillion - Radiat10n

born to run costa del slough marillion mosley now she'll never know pete trewavas radiat10n radiation rothery steve hogarth the answering machine three minute boy under the sun

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Marillion From A Swedebeast's Point Of View - Afraid Of Sunlight

afraid of sunlight beautiful beyond you Brave cannibal surf babe gazpacho john helmer King marbles marillion mark kelly out of this world pete trewavas rothery steve hogarth

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Marillion From A Swedebeast's Point Of View - Seasons End

October 02, 2015

clutching at straws john arnison john helmer king of sunset town la gazza ladra - the thieving magpie marillion pete trewavas phil todd seasons end steve hogarth steve rothery

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Jane's Addiction - Nothing's Shocking

Growing up as a teenager in the 1980’s I’d say my progression through rock and roll was fairly standard. Status Quo were my gateway band that drew me into a world of distorted guitars and hard assed rhythms. From there it had to be harder and heavier…Quo gave way to Maiden who gave way to Venom, who gave way to Mercyful Fate then to Metallica, Slayer, Bay Area thrash, death metal…etc. I also embraced the pantheon of forebears…Sabbath always did rule the roost for me from one summer’s day in ’83 when I heard “Live Evil” and still do to this day as do the classics like Lizzy, Purple, Skynyrd, Led Zep, ZZ Top, AC/DC, Motorhead, Kiss. I was a typical heavy metal teenager. Metal was always what it was…hard, heavy, escapist…etc but towards the end of the decade there was a shift; the Red Hot Chilli Peppers introduced metallers to funk, The Beastie Boys and Run DMC with Aerosmith introduced metallers to rap, Faith No More introduced metallers to funk and rap and then there was Jane’s Addict...

Burn on the Bayou: a Heavy Underground Tribute to Creedence Clearwater Revival

Tribute Albums can be a minefield, depending on whom the chosen artist is that is being given the (sometimes dubious) honour of having their songs covered. Black Sabbath have countless tributes and have had every possible band from the Giants (Metallica) to the bizarre (Busta Rhymes) cover them with extremely mixed results. For every White Zombie and 1000 Homo D.J.s sublime covers of Children of the Grave and Supernaught theflip side is the absolute travesty of Emerald Sabbath (I kid you not) consisting of anyone with the most tenuous connection to Sabbath (Dave Walker, Neil Murray, Bev Bevan) murdering their songs. The first hurdle of any tribute album is avoiding the obvious (Sabbath, Lizzy, Purple etc) picking an artist well known but not covered to point of saturation. So, Credit to Ripple Music A whip smart choice of a tribute and overall executed with style. With Burn on the Bayou the first hurdle has been easily jumped. Creedence Clearwater Revivals music is par...

Noiseworks - Noiseworks

Back in the late eighties an Australian friend of mine, whom I've sadly lost touch with since, sent me a cassette of a Sydney-based band. It was their self-titled debut and the band in question was Noiseworks. At this point in time, this five-piece were completely unknown to me and based off of the artwork, a photo of the band against a white backdrop with the logo above, I had no clue what to expect. However, once the music started I was sold - hook, line and sinker! Australian rock and pop of the eighties had a particular sound. Can't honestly describe it in words but to this day that sound is very identifiable in a good way. And Noiseworks are not exempt of this. They deftly embrace their heritage while going full tilt with awesome hooks, great lyrics and a lot of emotion. What baffles me is that the guys were labeled a pub rock band. Maybe that was the case in their infant years but ‘Noiseworks’ is anything but. Then again, we all look at things differently. ...

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-(16)-
; NASHVILLE
:Twingiant
. Book
. new album
...and the fire within
...in the shadows below
...it's ugly or nothing
...must die
...only a suggestion

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