Author: Peter Podbrežnik
Artist: Arena
Label: Verglas Records
Release: 1997
Rating: 3.5/5
After the release of their excellent second album “Pride” (1996), Arena finally earned themselves the status of a band with a vision all their own, even among the wider prog rock crowd. No longer were they seen as some obscure project of Mick Pointer, the former Marillion drummer, and Clive Nolan, the Pendragon keyboardist. With the arrival of the hugely charismatic singer Paul Wrightson and the incredible bassist John Jowitt (IQ, Jadis), their public profile improved dramatically, and so did their songwriting maturity. A band with a completely soul of its own was born, one for whom the link to the legacy of early Marillion has been as much a blessing as a curse ever since.
Meanwhile, guitarist Keith More could no longer handle the burden of his bandmates’ ever-growing ambitions, as they set about creating something wonderful that had nothing left to do with early Marillion. Because of this change of direction, Keith wanted to play and perform with the band only as an outside collaborator. But the two bosses nipped that half-hearted arrangement in the bud, knowing nothing good could come of it. So, despite his immense contribution to getting the band off the ground, they showed Keith the door and brought in young John Mitchell, a guitarist of untold potential. Mitchell clicked with the rest of the band instantly, and his arrival was pretty much a turning point in the band’s story, as he became a hugely important part of their future direction. He outdid his predecessor both in the variety of his recognizable guitar technique and in the quality of his own musical ideas. And Mitchell wasn’t just a great guitarist, but also a solid singer and songwriter, who later launched his own outfit, The Urbane, and then replaced Francis Dunnery in the legendary prog-pop attraction It Bites. He also became very successful as a kind of successor to John Wetton (he later spent some time with him, too) in terms of how in-demand he was with other bands, as well as the creator of various interesting side projects.
While preparing for the next album, Arena decided to reward their loyal fans with a special mini album, “The Cry”. It featured newly arranged versions of songs from the “Crying For Help” series, which had appeared on the first two albums, “Songs From The Lions Cage” (1995) and “Pride”, as well as a few previously unreleased tracks. The whole “Crying For Help” series was originally conceived as a single composition, but was later split into shorter pieces that sat between the longer numbers on the first two Arena albums.
The opening “Theme” is an ambient keyboard motif that flows straight into the acoustic ballad “The Cry”. That one is an alternative version of “Crying For Help VII”, which in its heavier form became a beloved closer of Arena shows. This version is built on Paul Wrightson’s melancholic singing, especially the plaintive “help me” chorus, and a subtle acoustic guitar melody from John Mitchell. On the very pleasant “The Offering”, an alternative version of “Crying For Help V” and a gentle, classically tinged piece full of lovely baroque keyboard arrangements, Clive Nolan shines once again. “Problem Line”, an alternative version of “Crying For Help III”, is another classically flavored piece, with a mystical atmosphere courtesy of the keyboards and an effect reminiscent of choir vocals. “Isolation” is a pleasant acoustic number created specially for this EP. Mitchell once again proves himself here with his delicate acoustic guitar passages, even though he later became far better known for his electric guitar work. “Fallen Idols” is a different version of “Crying For Help II”, in which Nolan’s keyboards have an even more pronounced ambient, undulating character. The ambient “Guidance”, the original version of “Crying For Help VIII”, features rolling soundscapes, rustling effects and a choir effect complete with female operatic vocals. In a way it showcases Clive’s interest in film music, since it could easily serve as the backdrop to a theme from some dramatic, dark movie.
On “Only Child”, an alternative version of “Crying For Help IV”, Marillion guitarist Steve Rothery (re)joined the band as a special guest. His contribution is clearly audible thanks to his instantly recognizable soloing. On this track, one of the two best on the EP, Clive’s rich and varied symphonic arrangements stand out in particular, including Mellotron samples, along with another excellent vocal performance from Paul, as usual. The latter really shines in the melodic chorus, followed by the crash of Mick’s drums and later Rothery’s distinctive, weeping solo. ” “Stolen Promise”, an alternative version of “Crying For Help VI”, is marked by Clive’s baroque symphonic keyboard arrangements.
The best piece on the EP, in my opinion, is the closing anthem “The Healer”, the only track on this EP where Arena come alive as a full band and show off their signature, heavier rock style. It’s also the only track from this EP that actually made it onto the setlist of their (early) live shows (you can hear it on their first live album, “Welcome To The Stage). Although it’s not an Arena classic like, say, “Jericho”, which it resembles the most, it’s a very successful, energetic number with quite a few parallels to early Marillion. Even Paul’s singing veers into Fish territory a few times. Anyone who isn’t bothered by that kinship will especially enjoy the dramatic lines of “blood stained Arena”, which help make this track sound like a genuine Arena anthem. “The Healer” was written in the period between “Songs From The Lions Cage” and “Pride”, but then never found its way onto the latter album.
“The Cry” certainly can’t compare to the quality of their studio albums, but it’s still a must for all Arena fans, since it’s a lovely document of their early period and sheds new light on the “Crying For Help” series. It also marks the moment the hugely popular John Mitchell joined the band, an acquisition that served them very well on the following albums. “The Cry” was an encouraging warm-up before the next album, “The Visitor” (1998), which, completely unexpectedly, wrote the band into the history of progressive rock for good and also marked their first masterpiece.
Line-up
Paul Wrightson – vocals
John Mitchell – guitar
Clive Nolan – keyboards and backing vocals
John Jowitt – bass guitar
Mick Pointer – drums
GUEST MUSICIAN:
Steve Rothery – guitar (8)
Production
Clive Nolan and Simon Hanhart
Track list
1. Theme (0:55)
2. The Cry (3:10)
3. The Offering (2:33)
4. Problem Line (4:02)
5. Isolation (1:59)
6. Fallen Idols (4:12)
7. Guidance (5:09)
8. Only Child (5:03)
9. Stolen Promise (2:58)
10. The Healer (5:44)
Running time: 35:47
