Back-up Vocal~ I’ve never been one to give an extraordinary amount of credence to the album charts. Primarily because the majority of my favorite bands haven’t spent much time on them in decades. As I have described in varying degrees of detail in “Back-up Vocals” past, the musicians I admire most reside squarely in kingdom of the unfashionable fringe. A few have been active long enough to qualify for the realm of Classic Rock. But, as a whole, they don’t get any kind of regular radio airplay in the states, so they don’t really hit the popular charts anymore. I was more surprised than anyone to find that Bo’s solo album made enough of a stir in Splendorland’s worldwide music markets that even “Zoop Magazine” had to take notice of it’s smashing success in flying off the record store shelves. In Moldova. In all honesty, I had never heard of Moldova until Mannyacs started getting readers there. As a show of thanks for the support I have been shown, I have incorporated that sacred spot into my creation as the opportunity has presented itself. Since the DBS 3 debut album sold well there in a past story-arc, it was fitting that Moldova would be the first to rally behind a solo project from a member of the band. I am suddenly reminded of a few legendary groups who garnered their most loyal initial followings far beyond their own front door and weren’t truly embraced on their home turf until later. In particular, Kiss are from New York City, but Detroit loved them first. ABBA are originally from Sweden. Yet, according to every Documentary film and interview I have found on their ascent to fame, Australia wanted the foursome before anyone else did. In both cases, the the world eventually caught up and the rest is history. It would seem that Bo and his Pago Pago Privateers have done the same, by earning their wings in a foreign country that understands them before the planet as a whole takes notice. Perhaps a new cult fan base is on the horizon. Much thanks again to the Moldovan Front for lighting the fuse!

Lord knows I’m guilty of having a completist side to me. When I first became a Marillion freak, I made it a point of purchasing all of the band’s work, and every single solo album from every member of the band I could fit in my grubby paws. That thirst also extended to the side project albums any of them had made with any other bands. It might have been a Pete Trevawas bass line on just half of a song. I had to have it. Still do. To a lesser degree this is normal for serious collectors in most music genres: perhaps they seek a song where a favorite drummer sat in on bongos for a track, or a singer played tambourine. But, I’m here to tell you that we Marillion take our devotion to extremes that defy explanation. We even want the demo tapes of songs the band never finished, if we can get them. Guitarist Steve Rothery could capture the audio of him pouring milk on his cereal and Marillion fans will want it. Because, it doesn’t matter if it’s a recording of the band tuning up, or drummer Ian Mosley refilling his car’s windshield washer fluid. If it comes from any member of Marillion, it’s music to us. That said, I put myself back into the mindset of the early 90’s me, scouring all possible outlets for sonic salvation from what was at that time my new favorite band (now it’s sometimes hard to imagine a point when I didn’t know about them yet). Ultimately, I felt that the explosion in the popularity of the debut solo Bo album couldn’t help but spark that similar caliber of renewed interest in his “Backing Tracks” album with Soxx on drums from Comic 127. I know I’d buy one. In fact, if there are any Progressive Rock drum and bass teams out there willing to take a swing at how you think those two would sound in a spacey, groovy jam session, email me some samples. I’d love to hear them. 

Finally, it would seem that Menudo have found a new home, here in the “Manny-verse”. I still haven’t put all the pieces together on that one myself.