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Über dieses Album
The Last Performance at Greyhaven ist ein Vintage-inspiriertes Neo-Progressive-Rock-Konzeptalbum im Stil von 1984 von RetroForge Records, geprägt von theatralischem Gesang, Mellotron, Hammondorgel, analogen Synthesizern, ausdrucksstarker E-Gitarre, Fretless-Bass, Klavier und wechselnden Taktarten.
Das Album folgt einem gescheiterten Bühnenkünstler bei seiner Rückkehr nach Greyhaven, jener verfallenden Küstenstadt, die er zwanzig Jahre zuvor verlassen hat. Was als Heimkehr beginnt, wird zu etwas Seltsamerem und Schärferem: eine nächtliche Reise durch vernagelte Hotels, sterbende Spielhallen, alte romantische Verletzungen und ein verlassenes Theater, das noch immer den Namen seines jüngeren Selbst trägt.
Musikalisch gehört das Album zur Neo-Progressive-Rock-Tradition der frühen 1980er: dramatischer Gesang, erzählerisches Songwriting, filmische Keyboardklänge, melodischer Bass, plötzliche rhythmische Wendungen und von der Gitarre geführte emotionale Höhepunkte. Es verbindet ausgedehntes Erzählen mit prägnanten, einprägsamen Albumsätzen und vermeidet einfache Nostalgie, während es dennoch wie eine abgenutzte Platte aus einem vergessenen Regal klingt.
Für Hörer, die theatralischen Progressive Rock, regennasse Konzeptalben, Mellotron-reiche Atmosphären und intelligentes erzählerisches Songwriting schätzen, steht The Last Performance at Greyhaven im RetroForge-Archiv als melancholischer, aber zutiefst menschlicher Eintrag. Es wirkt weniger wie Fantasie als wie eine verschollene private Mythologie, in Vinyl gepresst.
Archivjahr: 1984 · Veröffentlicht:
Titelliste
- 1The Evening Train to Greyhaven5:49
- 2Postcards from the Promenade4:18
- 3The Girl Beneath the Marquee6:43
- 4Rooms Above the Arcade5:40
- 5A Costume Full of Strangers4:49
- 6The Last Performance7:21
- 7When the House Lights Rise6:46
Archivnotizen
Greyhaven hatte nicht gewartet. Die Stadt war ohne ihren verschwundenen Künstler weitergegangen: Die Automaten verschluckten noch immer Münzen, die alten Hotels ließen noch immer Wasser in ihre Teppiche sickern, und an der Promenade wurden weiterhin leuchtende Postkarten von Sommern verkauft, die nicht mehr existierten. Selbst das halb verfallene, an den Nähten feuchte Theater wirkte weniger gespenstisch als zweckmäßig. Es hatte einfach ausgehalten.
Das Album bewegt sich durch eine Nacht in dieser Küstenstadt, doch der eigentliche Schauplatz ist die Entfernung zwischen einem gespielten und einem gelebten Leben. Der zurückkehrende Erzähler erwartet, dass die Vergangenheit ihm in großer Theatersprache antwortet. Stattdessen antwortet Greyhaven mit Lieferwagen der Bäckerei, kaputten Aufzügen, unbezahlten Zimmern, gewöhnlichen Ehen, Regenwasser und Menschen, die sich weniger dramatisch an ihn erinnern als er selbst.
Im letzten Titel ist die Vorstellung beendet, aber nicht mit Feuer, Applaus oder göttlicher Offenbarung. Das Saallicht geht an. Die Kulisse wird zu Holz, Draht und Farbe. Der Morgen kommt ohne Urteil. Das Album endet nicht, indem es die Vergangenheit wiederherstellt, sondern indem es sie zurücklässt.
Songtexte & Untertitel
The last train west was nearly empty Two nurses and a marine A woman feeding crossword clues Into a vending machine The guard clipped holes through destinations With ceremonial care Then looked at mine and raised an eyebrow As though nobody went there I said, "Greyhaven" He said, "End of the line" Then marked the ticket twice As if the first mark might decline Greyhaven, don't wait up I'm only passing through I've told that lie in every town But never once to you The window gave my face back In pieces after dark One eye above a signal box One mouth across a park I tried to read the evening news The headlines would not stay A minister denied the facts A factory closed today The football scores were final The weather promised rain Nothing in the printed world Explained why I was on that train Greyhaven, don't wait up Put nothing on the stove I'm not the boy who left your streets With nowhere else to go I used to think the future Was a country with my name Where every door said PRIVATE Till I arrived and made a claim I learned to bow at curtain calls To pause before a tear To make a room of strangers think I'd whispered in each ear I learned which wounds looked noble Which failures sounded brave And how regret improves with age Once properly engraved But there are nights when hotel glass Catches you before the act Before the grin has found its lighting Before the lie becomes a fact There are mornings when your own name Looks borrowed on the page And every town behind you Feels like scenery from a stage The suburbs thinned to warehouses The warehouses to fields The moon flashed on the window Like a coin nobody yields Then salt appeared upon the glass Or perhaps it was the rain And somewhere past the blackened dunes The sea began again The pier rose up in sections A broken ruler in the foam The town was smaller than the memory That had brought me home Greyhaven, don't wait up I see the platform light I've spent twenty years rehearsing What I cannot say tonight The train doors opened I stepped down The train knew where to go
They painted the railings municipal blue To prove that the council remembers the view The pier is condemned but the gift shop survives Selling shells made in China and simplified lives The Grand Hotel offers a sea-facing room With breakfast, a Bible and traces of bloom The lift has been broken since eighty-one But the brochure says climbing is part of the fun Wish you were here Preferably spending Summer is over The offers keep ending Wish you were here Bring cash and good cheer Greyhaven loves you Three weeks of the year The fortune machine gives professional advice For twenty new pence, sometimes twenty pence twice It told me, "A journey will change who you are" Then swallowed my money and flashed AU REVOIR The Golden Crown Arcade is half LED Half carpet, half mildew, half clinically dead A child wins a whistle, his father wins debt The horses keep racing without moving yet Wish you were here Preferably thirsty Monday is charming And Tuesday is worse, see Wish you were here The coast is quite clear Greyhaven loves you Three weeks of the year A man dressed as Nelson sells lager and chips With gravy on trousers and salt on his lips He says, "Used to be queues from the station to shore" Then points at six pensioners asleep by the door The Winter Gardens is Luxury Mews The fishermen's club is a place selling shoes The cinema's bingo, the bingo's now flats The rats have a landlord, the landlord has rats Rename the collapse Reframe the decline Call every crack An original line Turn damp into character Dust into charm Put heritage plaques On the fire alarm I found my old face on a sun-bleached display THE GREYHAVEN PLAYERS, ONE WEEK ONLY IN MAY My hair reached my collar, my grin reached the street Someone had written COMPLETE LITTLE SHIT I laughed for a moment Then looked round in case Somebody remembered the rest of my face Nobody did And the wind off the sea Tore nineteen seventy-four off of me Wish you were here Preferably younger Memory is cheap But memory gets hungrier Wish you were here The message is clear Greyhaven needs you Three weeks of the year But not permanently
She was smoking beneath the old marquee Keeping one shoulder out of the rain I knew her before she turned towards me She knew me and looked away again I said, "Helen" She said, "Still dramatic?" Then dropped the cigarette under her shoe I had carried speeches across half the country She defeated them all with "How are you?" I said I was working She said, "Still acting?" I said there had been television as well She said she had seen me once in a hospital drama Playing a doctor who couldn't tell I said, "That was years ago" She said, "Everything is" Then asked if I still drank after a show I said, "Only socially" She looked at the empty street And said "Not much society here, though" She married Tom from the bakery He gets up at four and complains about flour They have two children, a terrier, a mortgage And arguments lasting about half an hour Her mother died Her father moved inland Her eldest is studying law She said all this without lowering her voice As if ordinary life Required no applause I said, "I wrote to you" She said, "Three times" I said, "Some letters may have gone astray" She said, "You wrote when you were frightened or drunk And both times wanted saving that day" I said, "I was young" She said, "So was I" I said, "I had something to prove" She said, "You always mistook being watched For having somewhere to move" I told her I sometimes imagined returning And finding the life we might have lived She said, "You imagine the flattering version You never imagine what marriage gives You never imagine the bills on the table Or you after another bad review You imagine me frozen beneath this marquee Still waiting to happen to you" I said, "Perhaps we were meant for each other" She laughed, but not cruelly at me She said, "You were meant for an audience I was meant to be free" Then Tom arrived in a bakery van He waved through the glass and waited No jealous scene No meaningful silence No old wound ceremonially stated She kissed my cheek and said, "Take care" The sort of thing decent people say Then climbed beside him And fastened her seat belt And ordinary life drove away I stood beneath the marquee With nothing prepared to perform The rain came through the missing letters And made no attempt To keep me warm
Mrs Vale ran seventeen rooms Above the Golden Crown She wore a belt of brass front-door keys And never once sat down She said, "Breakfast, seven thirty Bathrooms, second floor No visitors after ten o'clock Unless they pay for more" She looked at my suitcase She looked at my shoes She looked at the name in her register And said "You've been here before Haven't you?" I said, "Perhaps" She said, "Room nine" Then charged me for the view The view was brick A drainpipe And a pigeon missing two Mr Pike in number three Collected broken clocks He said time worked for management And ought to join the docks Miss Dora Finch in number six Had once performed with dogs She kept their photographs in frames And fed imaginary frogs The twins in number seven Sold perfume door to door One spoke every sentence twice The other spoke once more A young man lived in number eight Who never left his bed He wrote complaints to famous men And signed them "Recently dead" Rooms above the arcade Thin walls, thicker lies Everybody hears the truth Then politely shuts their eyes Rooms above the arcade Buckets in the hall Every private kingdom Has somebody next door through the wall Below us all night long The Golden Crown performed Bells announced victories No human being earned Plastic rifles shot at wolves That rose without complaint A mechanical boxer punched the air And never seemed to faint The fortune woman lit her eyes I fed her twenty pence She said, "You have a talent For confusing noise with consequence" I fed her twenty more She said, "A woman knows your name" I kicked the cabinet hard enough To tilt the game The manager came running In slippers and a vest He said, "You theatrical gentlemen Are worse than all the rest" The wallpaper still carried A brown mark near the bed Where I had thrown a bottle At something Helen said The wardrobe held one wire hanger Two dead moths and dust No red stage coat No secret script No evidence of us I remembered velvet curtains I remembered candlelight The room contained a kettle And a bulb too weak for night Mrs Vale appeared behind me Holding towels to her chest She said, "You always were exhausting When you wanted to be blessed" I said, "Did I leave anything?" She said, "Several unpaid weeks A girl crying on the landing And a talent for speeches" Rooms above the arcade Every lock remembers hands Every stain becomes a country When a lonely man expands Then the building gave a shudder And the Golden Crown went black One machine continued ringing Then reluctantly gave back The residents opened doorways Small faces in the gloom For half a minute everybody Stood outside their room Mrs Vale lit three candles And called each person By their name
You built a man from good reviews Bad sleep and borrowed jokes You taught him how to enter rooms And leave through clouds of smoke You gave him one convincing wound A childhood painted grey A careful little tremor When the questions turned that way You dressed his fear as arrogance His selfishness as drive Then sent him underneath the lights And called the trick alive A costume full of strangers Buttoned to the throat Every one of them had lines Every one of them could quote A costume full of strangers Stitched beneath the skin You spent so long becoming them You forgot who let them in There was the wounded working boy Who hated wealth on cue There was the educated clown Who knew one book or two There was the dangerous romantic There was the faithful friend There was the man who meant each promise Till the promise reached its end There was the drunk who spoke the truth The sober man who lied The fragile prince who needed love Then punished those who tried A costume full of strangers Buttoned to the throat Every one of them had lines Every one of them could quote A costume full of strangers Sewn with praise and gin You spent so long becoming them You forgot who let them in Take off the clever one He says he keeps you safe Take off the tragic one He uses grief for shape Take off the lover He loves being seen Take off the rebel He knows what rebellion means Take off the actor No Take off the actor No Take off the actor There is nothing underneath I found the red coat in my case Though I had left it years ago Perhaps I packed it in my sleep Perhaps it learned to follow I held it by the shoulders Like a body from the sea The lining held the smell of rooms Where people paid for me I put one arm inside it Then pulled the arm away Some doors are only exits When you choose not to stay A costume full of strangers Lying on the bed Every one of them was hungry Every one of them was dead A costume full of strangers No applause, no violin I did not need to murder them I only stopped climbing in
The side door opened with a shove And half the frame came free A notice on the wall said STAFF ONLY Including me The lobby smelled of plaster Wet carpet and old beer The chandelier had lost enough To make the floor severe Backstage, my dressing-room door Still carried one gold star My name beneath was smaller Than I remembered from afar Inside, the mirror waited With twelve dead bulbs around I sat before it carefully And listened to the building sound Powder for the bruises Black around the eyes White across the ordinary Red across the lies Fasten every button Check the good side twice Pain appears spontaneous When properly precise Ladies and gentlemen Residents and rain Greyhaven's missing favourite son Has missed you all again Tonight, without an understudy Tonight, without restraint I give you every man I was And several that I ain't I entered through the centre With my arms thrown open wide The orchestra attacked the theme The curtains multiplied The balconies were crowded The boxes overflowed Every person I had failed Had purchased the front row Look at me now I made it after all I learned how to fly By rehearsing the fall Look at me now No debt, no delay I turned everyone I abandoned Into someone I could play I played the boy at seventeen Who called his father small I played the man at thirty Who no longer called at all I played the lover writing home From someone else's bed I played the brave survivor Of the wounds he always fed The audience laughed on cue They wept exactly where I placed the little silence That proved how much I cared Look at me now I made it after all I learned how to fly By rehearsing the fall Look at me now No debt, no delay I turned everyone I abandoned Into someone I could play Then one light failed above me Then another Then the sound The orchestra stopped playing But no instrument was found The balconies were canvas The cheers became the rain Running through the broken roof And down the windowpane There was nobody watching Except a man in row thirteen In a factory coat With oil on both hands And a face kept painfully clean I said, "Dad" He said, "That's convenient" I said, "I came to put things right" He said, "You came to make a speech You always come at night" I said, "You never understood me" He said, "You never stayed" I said, "I wanted something larger" He said, "And did you get it made?" I said, "They knew my name in London" He said, "Did they know when you lied?" I said, "I couldn't live your life" He said, "You never even tried" I said, "You should have called me back" He said "You wanted me to grieve" Then row thirteen was empty And I had nothing left to leave No crowd No father No perfect final word No evidence the dead return Because the living need to be heard No Helen in the doorway No younger self backstage No critic writing mercy In the margin of the page So this is what remains of me Without the careful art I wanted to be noticed More than I wanted to take part I called neglect devotion I called cowardice escape I called the truth too ordinary Unless I gave it shape Don't look at me now There's nothing to applaud No beautiful disaster No misunderstood god Don't look at me now Let the silence remain Some things are not redeemed By explaining the pain I removed the coat And folded it No burning, curse or plea I laid it in the centre Where the leading man should be Then from the back of the theatre One small house light came I said my given name aloud It sounded plain It sounded strange It sounded mine Outside, the rain was thinning On the roofs of Greyhaven I left the final line unspoken And walked out Before the end
At six, the bakery opened At six fifteen, a bus At six eighteen, two council men Discussed the state of us A woman hosed the pavement Outside the Golden Crown The dirt ran towards the gutter Without once looking back around The sky was losing colour The sea was losing rage Greyhaven looked less tragic In the ordinary day When the house lights rise The magic does not die It becomes wood Wire Paint And somebody sweeping nearby Mrs Vale stood in the doorway With her cardigan pulled tight She said, "You left your key upstairs" I said, "Keep it for the night" She said, "You mean forever" I said, "Something close to that" She nodded like a woman Who had heard much better acts I asked if she remembered me Before I went away She said, "I remember everybody I don't remember every day" When the house lights rise The scenery looks small That does not make it worthless It only makes it a wall The promenade was waking With deliveries and steam No child had yet demanded That the machines produce a dream The fortune woman's painted eyes Were dark behind the glass For once she had no future And I had no need to ask I passed beneath the marquee The letters swung above There was no message hidden there No judgement and no love Not every silence is wisdom Not every wound is art Not every road is destiny Because you chose to start Not every life is waiting For the courage to begin Sometimes the door is only shut Because nobody is in The station clock said seven The ticket office glowed The clerk asked, "Single?" I said, "Yes" He said, "Where?" I said, "I don't know" He waited with his pencil I named a town at random The name looked harmless on the card No past attached No anthem The train arrived without ceremony Four carriages and steam I took a seat beside the window And did not call it a dream When the house lights rise The audience is gone You gather what belongs to you And leave the rest switched on Greyhaven slipped behind me The pier became a line I watched until I lost it Then stopped trying To make the moment Mean more Than mine
Dieses Album erkunden
Empfohlen, wenn Sie Folgendes mögen
- Theatralischer Neo-Progressive Rock
- Progressive-Rock-Konzeptalben der 1980er
- Mellotron- und Hammondorgel-Klangfarben
- Analoge Synthesizer mit filmischer Atmosphäre
- Ausdrucksstarker Fretless-Bass und melodische Gitarrensoli
- Erzählerisches Songwriting mit figurenorientierten Texten
- Regennasse Küstenbilder
- Dramatischer, aber intelligenter Rockgesang
- Vintage-Albumkunst und abgenutzte Private-Press-Ästhetik
- Progressive Rock, der wie ein verschollener Archiveintrag wirkt
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