Prog fans – perhaps understandably – are not generally known for their benevolence when a favourite band undergoes a personnel change.
Steve Howe has talked publicly about the poor reception Trevor Horn received when the latter made his debut as Yes’s new vocalist during their North American tour of 1980.
Phil Collins still believes some Genesis fans were convinced he was scheming to take Peter Gabriel’s place as the band’s singer.
But Marillion fans seem a far more amiable bunch. When Steve Hogarth was installed as their new frontman in 1989, he seems to have been welcomed pretty much with open arms (if this superb televised gig from only his second UK tour is anything to go by).
Seasons End, (no apostrophe?), released 30 years ago this week, was a weirdly assured debut from Hogarth and easily this writer’s favourite Marillion album (1989 was a bit of a Year Zero for me in terms of the band, the Fish era barely appearing on my radar).
Hogarth’s melodies are fresh and exciting and his vocals always strong. It helped of course that he was a triple threat, a proven singer/songwriter with mid-’80s bands The Europeans and How We Live (though he was apparently eyeing a job as a milkman when the latter wound down in early 1988) and possessing some decent keyboard chops.
His natural magnetism as a frontman didn’t hurt too, and he even brought a few gimmicks to the party, like the magic gloves and musical cricket bat (a tribute to Ian Faith? Ed.).
So how does Seasons End stack up these days? Pretty well. The singles ‘Easter’ (UK #34), ‘The Uninvited Guest’ (UK #53) and ‘Hooks In You’ (UK #30) were distinctive, well-arranged and featured soaring guitar playing from Steve Rothery.
Ian Mosley is that rare rock drummer, solid but expressive, and capable of great subtlety. Keyboardist Mark Kelly had become a superb texturalist too, as demonstrated on the Steve Reich-esque second half of the title track, plus ‘Holloway Girl’ and ‘The Space’.
Marillion, Genesis and It Bites were flying the UK prog/pop flag at this point, and their late-’80s careers make for interesting comparison. As for Seasons End, it did very nicely, touching down at #7 in the UK album chart and ensuring a long, fruitful career for the band’s new line-up.
A sense of contour, of line, a bit of colour, a good tone and maybe a touch of – that horrible word – narrative. A bit of flash never heart anyone either, but mostly we’re probably listening for emotion and ‘storytelling’.
Luckily for us, the 1980s featured an embarrassment of riches on the guitar soloing front, a decade when you could hear everything from glorious cameos of post-punk insanity, slabs of avant-garde weirdness, shock-and-awe widdlefests and sometimes perfect little compositions in themselves.
Sometimes great solos came from the guitarist in the band, but more often than not they came from the ‘ringer’, the session player. Truly great players of all stripes could find themselves blowing on a top 10 single. Their job was to add the pizzazz, the zing, the memorable bit that all the kids wanted to learn.
So here’s a selection of goodies from the guitar-shaped chocolate box, featuring some rock, some blues, some fusion, some soul, some new-wave, some pop, some metal, some funk, some jazz:
27. Lloyd Cole And The Commotions: ‘Forest Fire’ (Guitarist: Neil Clark)
26. Tears For Fears: ‘Everybody Wants To Rule The World’ (Guitarist: Neil Taylor)
25. Marillion: ‘Easter’ (Guitarist: Steve Rothery)
24. Michael Hedges: ‘Aerial Boundaries’
The whole thing is a solo, of course, but it’s one of the most astonishing examples of solo guitar in recording history, a mixture of tapping, strumming, thumping and hammering. There are no overdubs and a very strange tuning on the classic title track to Hedges’ 1984 album.
23. Tribal Tech: ‘Tunnel Vision’ (Guitarist: Scott Henderson)
An almost perfect solo from the jazz/rock master’s album Nomad. It’s so complete it sounds almost pre-composed (apparently only the first eight bars were hummed to him by the tune’s writer Gary Willis), each interesting idea following completely logically from the last. Starts at 1:13:
This one taken from the classic album The Colour Of Spring can be filed in the ‘minimalist’ category, but it’s brilliant. The way the veteran Pretenders/McCartney guitarist bends into his last note, perfectly fitting with the key change, is sublime. Starts at 2:52:
21. Johnny Guitar Watson: ‘Telephone Bill’
Johnny G pulled out all the stops for this barnstorming bebop-meets-blues breakdown, from the Love Jones album, closing out his funny proto-rap in some style. He also gets extra points for quoting Dizzy Gillespie’s ‘Salt Peanuts’. Starts around 3:30:
From Booty’s now forgotten 1988 album What’s Bootsy Doin’, a brief but flamboyant classic from one of the great unhinged metal guitarists of the decade, used as a ringer by George Clinton, Bill Laswell and Shakespear’s Sister to good effect. Starts around 2:44:
19. Thomas Dolby: ‘Budapest By Blimp’ (Guitarist: Larry Treadwell)
The LA-based guitarist was part of a Christian duo backing the Pope on his infamous ‘Popemobile’ tour of American stadiums when he answered Dolby’s magazine ad, and he excelled himself on this epic track from Aliens Ate My Buick, coming up with a strong melody over the funky break and even throwing in a little Dave Gilmour homage. Starts around the 5:30 mark:
18. Trevor Rabin: ‘I Can’t Look Away’
The title track of the Yes guitarist’s 1989 solo album was a song of two brilliant solos, but I’m going for the opening salvo, a brutal, flashy classic that features all the notes he knows and more.
17. Robert Cray: ‘Waiting For The Tide To Turn’
You could choose almost any solo from Mr Cray’s Bad Influence album, but this one seems to be best encapsulate his classy string-bending, snappy rhythmic sense and ice-cold Strat tone. Starts at 1:33:
16. Nile Rodgers: ‘Stay Out Of The Light’
A brilliant player not necessarily known for his solos, but this closing track from his forgotten second solo album B Movie Matinee opened the floodgates – a fantastic mixture of Charlie Christian and Jimmy Nolen. Starts at 3:37:
15. John McLaughlin: ‘The Wait’
McLaughlin plugs in the Les Paul and unleashes one of the most vicious solos of his career, gradually developing in intensity, with even a touch of his old mucker Carlos Santana at times. Unfortunately it mostly fell on deaf ears, coming from a nearly-forgotten 1987 album Adventures In Radioland. Starts around 1:43:
14. Defunkt: ‘Eraserhead’ (Guitarist: Ronnie Drayton)
One of those unhinged solos that starts at ’11’ and then just carries on in the same vein. The underrated session great is given his head and goes for it. From the punk/funk legends’ forgotten, excellent 1988 comeback album In America.
13. Yngwie J. Malmsteen: ‘Black Star’
This piece, kicking off the Swede’s Rising Force opus, is a guitar masterclass from top to tail, but the first few minutes demonstrate some extraordinary touches like a legato section that you’d swear was achieved with a delay pedal.
12. Stanley Clarke: ‘Straight To The Top’ (Guitarist: Carlos Santana)
The song – which kicked off Stanley’s 1981 career nadir Let Me Know You – may be a disco cheesefest but Carlos’s solo is a stonker, an emotive showstopper with a luscious, creamy tone and lots of emotional moments. It was a good period for Santana – see also Herbie Hancock’s ‘Saturday Night’ and Carlos’s own ‘Stay Beside Me’ and ‘Song For Devadip’.
11. It Bites: ‘You’ll Never Go To Heaven’ (Guitarist: Francis Dunnery)
The Cumbrian gunslingers wrote a great ballad here and Dunnery laid his claim as one of the great Brit guitarists of the ’80s with this extreme solo, a sometimes lyrical, sometimes demented mixture of flash and panache. From the lads’ debut album The Big Lad In The Windmill. Starts at 5:09:
10. Billy Idol: ‘Rebel Yell’ (Guitarist: Steve Stevens)
He produced several memorable moments alongside the 6’2” blond bombsite born William Broad, but Stevens excelled himself here with a memorable, well-organised solo full of flashy bits and unexpected ‘outside’ notes.
9. Joe Satriani: ‘Ice 9’
Satch’s sophomore album Surfing With The Alien of course produced some guitar highlights but this track featured one of his most distinctive solos ever, Allan Holdsworth meets Eddie Van Halen.
8. Randy Crawford: ‘You Might Need Somebody’ (Guitarist: Steve Lukather)
This gets in for superb tone and admirable restraint, apart from that fantastic flurry of notes in the middle. Luke could hardly do any wrong around this time. Just around the corner was Quincy’s The Dude, ‘Rosanna’, Joni Mitchell’s ‘Love’ and Jacko’s Thriller.
7. Red Hot Chili Peppers: ‘Sex Rap’ (Guitarist: Hillel Slovak)
One of those great solos that sounds like it could fall apart any second, and frequently does. From the lads’ uneven but sometimes thrilling George Clinton-produced Freaky Styley album. Starts at 1:14:
6. Yellowjackets: ‘Monmouth College Fight Song’ (Guitarist: Robben Ford)
In the days when Robben’s trump card was playing bebop/blues with a distorted guitar, and when he loved blowing over interesting chord changes, this track from 1981’s Casino Lights is a classic. A super-sophisticated mixture of Charlie Parker and Albert King. Starts at 1:35:
Hiram could be relied upon to produce classic solos in the late 1980s, as he did with Steps Ahead, Terri Lyne Carrington and on his solo records, and this from Sting’s …Nothing Like The Sun was sublime. Starts at 1:27:
4. Pink Floyd: ‘Comfortably Numb’ (Guitarist: David Gilmour)
Take your pick between two fantastic solos from The Wall album, but I’m going for the first one, a beautiful feature with a killer tone and great use of whammy bar. Starts at 2:38:
3. XTC: ‘That’s Really Super, Supergirl’ (Guitarist: Dave Gregory)
He apparently rehearsed it alone for hours in a little room stinking of rat poison in Todd Rundgren’s rundown studio complex in Woodstock, upstate New York, but it paid off, a memorable, melodic classic. Starts at 2:08:
2. Mike Stern: ‘Time In Place’
The title track of Mike’s second solo album demonstrated definitely one of the slowest solos of his career, and also one of the most lyrical. Starts at 1:35:
1. John Martyn: ‘Johnny Too Bad’
This was one of the more memorable solos of Martyn’s career, during a decade when he was more interested in songwriting than making extreme guitar statements. But he sure found his Les Paul’s sweet spot on a classic cover version from Grace And Danger. Starts at around 1:28:
Prog fans – perhaps understandably – are not generally known for their benevolence when a favourite band undergoes a personnel change.
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