Sunsets on Empire, Raingods With Zippos, Fellini Days and Field of Crows are now available in the Fish Shop!
Finally it’s complete bar some judicious editing and correcting I’ll embark on tomorrow morning. The ‘Field of Crows’ sleeve notes for the next remaster. 9089 words at the moment with 4000 written today. The most complex of the sleeve notes so far as so much has been left out in order to compress 3 years of a tumultuous period in my life into something relevant to the album and at that same time making sense of the period.It’s 2.20 am, I have severe indigestion from perhaps too much coffee and a school run in 6 hours.Tomorrow is going to be a long read and I hope it all makes sense.
The last section of the sleevenotes
“In 2014 I’d decided to embark on this remaster series and wanted to review the original recordings. There was an option for remixes but due to technical difficulties the only album that was possible to work on out of the 3 I felt could benefit was ‘Field of Crows’. At the time I’d bumped into my old and dear friend Chris Kimsey who’d produced ‘Misplaced Childhood’ and ‘Clutching at Straws’ for Marillion and my second solo album ‘Internal Exile’. Chris was at a loose end that summer and was looking for a project. I suggested ‘Crows’ and sent him down a copy to listen to. Like many others he had never heard it and I was surprised at his genuine enthusiasm for the material. We talked it over and I handed over a couple of multi tracks for him to play with. What he came back with brought an entire new energy to the songs and I really liked his approach, accentuating the horns, tightening things up and layering the sound into something a lot more dynamic than the originals. It was groovier and yet still had a rocky edge I always felt was missing from the 2004 release. I green lighted his remix and he went ahead and began work on the rest of the material. What he delivered surprised everyone who heard it. It sounded like a new album and I designated it as the primary disc on this remaster. It’s sat around for too long but I’m glad that this is now in the public domain and can be heard in all its glory. I loved it back then and I love it even more now. This is how it should have sounded.”