Відео

All tge rush albums are great but this and 2112 are the best studio albums all tge worlds a stage is tge best live album

recife pe Brasil surdo bom Brasil 🇧🇷 casa lramos dois recife pe sepultura Brasil 🇧🇷 angra rock viper rock 🤘 ozzy osbourne dio brazil iron maiden korzus ratos de porra sepultura rootos pantera anthrax rush slaye kiss 😂😂😂😂

LYRICS Hotel hobbies padding dawns hollow corridors A typewriter cackles out a stream of memories Dryin' out a conscience, evictin' a nightmare Openin' the doors for the dreams to come home We live out lives in private shells Ignore our senses and fool ourselves To thinkin' that out there there's someone else cares Someone to answer all our prayers, all our prayers Are we too far gone, are we so irresponsible? Have we lost our balls or do we just not care? We're terminal cases that keep takin' medicine? Pretendin' the end isn't quite that near We make futile gestures, act to the cameras With our made up faces and PR smiles And when the angel comes down, down to deliver us We'll find out after all, we're only men of straw But everything is still the same Passin' the time and passin' the blame We carry on in the same old way We'll find out we left it too late one day To say, what we meant to say Just when you thought it was safe to go back to the water Those problems seem to arise the ones you never really thought of The feeling you get is similar to somethin' like drownin', hey Out of your mind, you're out of your depth You should have taken soundings Clutchin' at straws We're clutchin' at straws We're clutchin' at straws And if you ever come across us, don't give us your sympathy You can buy us a drink and just shake our hands And you'll recognize by the reflection in our eyes That deep down inside, we're all one and the same We're clutchin' at straws We're still drownin' Clutchin' at straws We're still drownin', yeah Clutchin' at straws, we're clutchin' at straws Still drownin', clutchin' at straws I'm still drownin' We're clutchin' at straws I'm still drownin' We're clutchin' at straws Still drownin' We're clutchin' at straws Still drownin' We're clutchin' at straws Still drownin' We're clutchin' at straws I'm still drownin', drownin' Clutchin' at straws Still drownin' Clutchin' at straws Still drownin' Clutchin' at straws Still drownin' Clutchin' at straws Still drownin' Still, still, still drownin'

Je zajimavy ze zahranicni hudba nema vubec cesky komentar vse anglictine Proc ?

Tato kapela Rush se me zalibila od samyho zacatku nema chybu

neurotica is such an underrated song

The first one should've been Butterfly 3000. There's so many good songs on Oddments. B3K has Black Hot Soup, Catching Smoke, and Shanghai and those are like the only memorable ones.

Someone close introduced this to me. Said she'd so f to this song. I'm saving this

Krl q merda, prefiro ouvir Sonotws do q ver saporra q chama tu chama de instrumental.

geordie in his boomer pretentious jazz scene era i see

That's what we're talking about!! It's Pond's magnum opus probably

Kkk... quanto tempo Deaky... acho que nem vai se lembrar de mim mas yeeey... voltei depois de 4 anos... Sou eu o Joao pedro ou JPS kk.. senti a sua falta e pode ter ctz que eu ate agora tava procurando voce e o Nubim, Nanin e os outros la kk... espero nao estar incomodando ja que to com essa mesma historia a anos.. so sei la, te desejo tudo de bom Deaky, e se voce ainda conversa com o Nubim e o Nanin fala para eles que eu mandei um oi kk.. Ate depois meu antigo amigo, desejo mais que sucesso no seu canal kk

my god that second piece is beautiful

Achei esse vídeo por acaso e me surpreendi. Achava que só eu tinha o Saucerful como um dos favoritos do Pink Floyd. Ano passado comecei tocar flauta (transversal e barroca) foi a 1a que toquei. Parabéns pelas análises: divertidas e informativas ao mesmo tempo.

Marillion biography Formed in 1979 in Aylesbury, UK (as Silmarillion, after the Tolkien novel) - Still active as of 2019 Pioneers of the second wave of progressive rock The Early Years After some early line-up changes, the first recognisable incarnation of the band was complete by 1982, with FISH (real name Derek William Dick), a charismatic Scottish frontman vocalist, Steve ROTHERY on guitars, Peter Trewavas on bass, Mark Kelly on keyboards, and Mick Pointer on drums. The band built their reputation the old-fashioned way by gigging extensively, but their profile was also raised by some clever manipulation of the music press, especially journals such as Sounds, in which Fish often interviewed his proposition that the band were "prog with attitude", a new force for the post-punk era. This profile landed them a record deal with EMI records, and, in 1982, they released an EP Market Square Heroes, which, it is fair to say, had more than a passing resemblance to the Genesis classic, The Knife. Also appearing was a monster prog track called Grendel. However, it was the release in 1983 of their debut long player, Script For A Jester's Tear, which brought them to the wider attention of the rock world. The album spawned hit singles in Garden Party and He Knows You Know, was critically well received, and reached number 7 in the UK album charts. The band's progress and workload were relentless after this point. They proved themselves to be somewhat merciless in the pursuit of musical and commercial success by ditching Pointer, who was felt to be sub-standard, and replacing him eventually with, after what the band described as their "Spinal Tap" period for drumming, Ian Mosley, formerly of The Steve Hackett Band. Pointer went on to jointly form Arena, a classic neo outfit who still record today, and still tours his Script era version of Marillion. The difference Mosley made, though, both live and in the studio, was palpable. The line-up released three more albums; Fugazi, Misplaced Childhood, and, finally Clutching At Straws. Misplaced Childhood was a massive hit, reaching number 1 in the UK charts in 1985, and responsible for huge hit singles in Kayleigh, Lavender, and Heart of Lothian. By this time, Fish had ditched his trademark face paint, - the music and his sheer personality were a tour de force in themselves, with no need any longer for gimmicks or theatrics. This spell of activity culminated in a huge open-air gig in front of tens of thousands at Milton Keynes Bowl, supported by, amongst others, Jethro Tull, themselves no strangers to large concerts. Clutching At Straws was released in 1987, and was an altogether darker affair, inspired by colossal drink and drug use by Fish, in particular, and discussing the many complex personal issues that brought. The relentless touring continued, and EMI were eager for the band to release a quick follow up. The pressure of this was too much, and in 1988, Fish left the band to embark on a solo career which, it is fair to say, had mixed success. The Hogarth Years For many acts, losing such a charismatic and important frontman and lyricist would spell the death knell. Not, however, for Marillion. In 1989, they announced to the world that Steve HOGARTH, a vocalist formerly with little known The Europeans, would be Fish's replacement. It is a little-known irony that Fish, when appearing on a BBC personality programme discussing his favourite music tracks, had actually played a Europeans single whilst still with Marillion. It is a testament to this inspired choice that the band have recorded and toured constantly, with latterly increasing success again, with the self-same line-up for (at the time of updating this biography) 28 years, an incredible achievement. The debut album released by the line-up was Season's End, released in 1989. Much of the music had been recorded prior to Hogarth's arrival, and it showed. It charted, though, at a respectable number 7 in the UK. The follow up, Holidays in Eden, was, perhaps understandably, criticised by fans and the press alike, as a misplaced attempt to create a commercial rock album driven by the desire to have hits. Whilst it did not bomb, also reaching number 7 in the charts, it certainly did not sell in the numbers of its predecessors, and the band found themselves playing to (admittedly ultra-loyal fans attending) mid-size venues of 3,000 such as Wolverhampton Civic Hall, rather than the larger arenas of the late Fish era. The band fought back, though, releasing in 1994 (three years after Holidays) the seminal concept album, Brave. The lyrics behind the music were inspired by a story Hogarth heard on local radio concerning a young lady who had committed suicide by leaping from Bristol Suspension Bridge. Although obviously dark and brooding almost throughout, the album was a statement of intent by a band determined to plough their own furrow in the music world. In later years, the album has been critically praised, and it also spawned a rather arty film of the same name. EMI, though, dropped the band, and the final album released with the label at the time was Afraid of Sunlight, released in 1995. It only reached number 16 in the UK charts, and sold relatively poorly. It was not much compensation when, upon reviewing the album on release, Q Magazine pronounced boldly that if any other band than Marillion had released this work, it would be a monster hit worldwide. At this time, prog had a bad name again, and the band suffered because of it. Further, more than one member of the band has wondered what would have been had they renamed themselves upon Hogarth's joining. There has been some wonderful recognition of the storytelling and emotional music inherent in the album when the family of Donald Campbell, famously killed in an accident on Coniston Water in a speed record attempt, following the discovery of his body in 2001, asked the band to perform Out of this World, a track from the album inspired by Campbell, at a memorial service. Marillion signed for Castle Records, and went on to record three albums with them, these being This Strange Engine, Radiation, and Marillion.com. The band, though, became increasingly unhappy with the poor marketing strategy, and lack of understanding of the music, by their record company, and they parted ways, with no real prospect of a new deal anywhere else in prospect. Once again, the band found themselves on the cusp of disaster. Disaster was averted, as Marillion set the template for all the crowd funded, internet based, music recording that is so widespread in the second decade of the millennium. Put simply, they asked their fans, still incredibly loyal, to fund the recording of Anoraknophobia before even a note had been recorded. 12,000 fans responded, EMI agreed to distribute it, and survival, on the band's terms, was ensured. This incredibly far sighted decision was not just the beginning of a return to relative commercial success, but also the template for many other more niche acts to follow. Marbles, released in 2004, a very well received album with genuine classic progressive tracks, had its marketing funded by the fans, but also had a double cd not commercially available to those who pre-ordered. Again, it was a tremendous success, and the band even enjoyed a return to the top ten singles charts with You're Gone, even if an appearance on Top of the Pops was denied them. At the time of writing this biography in 2017, the band have released five more albums, all with increasing commercial success, and continuing to use the fanbase as the model for funds and publicity, together with a more sympathetic press tiring of overtly rubbish commercial pop music. In 2016, the album F.E.A.R. (the acronym being f**k Everyone And Run) was released to large critical acclaim, and marked a return to overtly political lyrics and anger not really witnessed since the halcyon days of Fish ranting against war and Thatcherism in equal measure. It caught the zeitgeist of the times extremely well, that of a tired world increasingly bewildered by greed, corruption, poverty, the loss of traditional England, and an inability by the country's (and world's) politicians to deal with such issues effectively. It peaked at number 4 in the UK charts, having been funded by a Pledge Music campaign, and in October 2017 the band achieved a lifetime ambition of playing live at London's Royal Albert Hall. Tickets sold out within three minutes of being on sale. Marillion can be said to epitomise the tradition of progressive rock, playing, at times, incredibly complex music, but with an attitude and ethos wholly grounded alongside their fanatical fanbase. People reading this biography should not be fooled, or put off, by the neo-prog label attributed to them on this site. Marillion are far more than that, and they proclaim it very proudly. Steve Lazenby (Lazland) - 2017

i've played this video so many times over dwag. thanks for making such an upbeat track.

I like Neon Genesis Evangelion hard rock heavy metal classic rock and even Yes

Thanks for doing this... amazing work from POND.

Dope!! There's got to be a film trilogy that'll dare to add these three magnificent pieces of music. also hella Pink Floyd and Supertramp vibes too!

Tem q fazer um do vitas

Me lembra de voltar aq dps q eu ouvir os outros Minha opinião: ELP: Gosto de Barbarian, gosto de Knife-Edge e Lucky Man é Lucky Man, não tem muito o que dizer, mas pra mim é no máximo do máximo um B se não um C, Three Fates é muito chata pqp. Tank é OK e eu gosto muito da intro e do fim de Take a Pebble com o Lake cantando, mas o meio é MUITO mais longo do q deveria. Virava um EP daora com um pouco de “edição”. Tarkus: A suíte é boa, a Tarkus é claro, a outra, Hymn/Conclusion do lado 2 é uma merda, mas as mais fodas são Bitches Crystal e Time and a Place, ambas pelo menos no meu top 5 de ELP, talvez merecesse um B mas vou de A. Trilogy: O álbum mais acessível deles, não enrola muito com bgl de música clássica etc como em Hymn/Conclusion ou em vários momentos do primeiro disco e parece uma coleção de greatest hits: é recheado de clássico, um atrás do outro. The Endless Enigma, a faixa-título, From the Beginning, só música top, S sem discussão. Mas tem um que por muito pouco supera ele na minha opinião… Brain Salad Surgery: Toccata é confusa mas boa e as outras músicas de 2 minutos no começo são todas melhores ainda, mas eu nem preciso dizer que se não fosse Karn Evil 9 não seria meu favorito. É absurdo como eles saíram dos instrumentais cansativos do comecinho e mesmo com uma música de meia hora agora soam dinâmicos do começo ao fim, mesmo a segunda parte (2nd Impression) sendo meio… esquisita. Eu queria muito ver um show deles nessa época ao vivo, supostamente o robô com asas explodia e saia confete e fumaça dele. S

The music in song 3. Story from a Thin Wall (10:00) is the same like "Berlin" from "Season End"

G you play guitar like Miles play trumpet! Bitchin' brew for sure

Oh ya.

Muitos que o chamam de "mestre", tão claramente tirando uma onda, mas Ednaldo não percebe

Eu ria horrores com aqueles poops dele, mas infelizmente Ednaldo Pereira não interpretou bem

was it busy?

silly cats and timeless tunes :>

Bem fluído

nice cover bro

Why I laughed at this lol 😂

Viewer 278 ‼

this picture is so silly

Wait am i view 20? Or 21??? Idk but it says 20 views so it's gotta be one of those (I completely thought this had like, 132K views lol)

VIEWER 32!!!!

this will get a million views in a few months. proud to be viewer number 18

Is there any other material from the Fish Marillion other than the first four albums and this great stuff? Would be so pleased to hear about it. Thank you!

perfect! thanks for that :)

Another Marillion's beautiful album, thanks.

Guess. I cant get this one

Youe not alone . Just feels that way. The more things change ect .. were not allowed to be men anymore.not allowed to aproach wimen( youre a creep)were at the bottom of the ladder.on the way out . Time to talk/network and come out of the shadows..be what were meant to be.nice to know were not livin la vida solokeep in touch my freind.

TÁ FALANDO DA BANDA DA SUA AMIGA, E FALANDO MAL AINDA SE A MIXAGEM DE ÁUDIO DELES TA RUIM PELO MENOS DÁ O APOIO ENT BONZÃO, FAZ MELHOR TU SOZINHO

QUE MÚSICA Q VOCÊ TEM KKKKKK? WIU,MATUE,TETO,DEREK,DFIDELIZ,VEIGH É MUITO MAIS ORIGINAL. ANTES DE FALAR COISA HORROROSA FAZ MELHOR CARA, VOCÊ N FAZ BARULHO NEM NA SUA CIDADE

TIIERR LIIST DO WIU

TRAPPPP

Parar

Marillion sans Fish, ce n'est pas Marillion ! C'est ce grand chanteur, compositeur et leader qui a construit la notoriété du Marillion d'aujourd'hui.

It's easy to understand while listening to all that, Bob Ezrin (producer, Pink Floyd, Alice Cooper, Peter Gabriel...) in July 1988 wasn't impressed at all. And in hindsight, you can tell that Ezrin would/could not be the producer of the "ghost album" (aka Marillion's fifth album with Fish that would never exist).

Glad you for this brilliant upload.