After Forever’s Gone Reviews





AFTER FOREVER’S GONE

WHERE? Magazine, Date Unknown

Written By Danny Renn

“Back in the shops, courtesy of Sony, after the demise of FM-Revolver, is the first of Marino’s two albums for the label (“Blues For Lovers” follows shortly). It’s basically a compilation taken from his four deleted albums on Scorpio in the early-mid 80’s, and provides an excellent introduction to the man’s work and style of guitar playing.

Highlights include the 3-part “Northern Sky,” based on Marino’s impressions of Hull, and “El Salvador,” based on Marino’s impressions of Burstwick. Evocative titles such as “Jasmine,” “Look Into The Sun” (though perhaps more astronomic than cosmic), “Ilian’s Garden” (another highlight) and “Omni-Present Light” give you an idea of what to expect, but thankfully it never gets all too New Age. In fact, “Borderline,” is much more funky and “Did I Say That?” with it’s jazz base reveals a side to Marino’s playing not always recognisable or recognised in his work.

If I had to choose one Marino LP, I’d probably go for “Blues For Lovers,” for it’s thematic unity, but if you’ve heard little of the man’s work, and you want to know more, this is as good a place to start.”


AFTER FOREVER’S GONE

Publication and Date Unknown

Written By Gordon Lancaster

“The re-release of this material is hot on the heels of “The Endless Enigma” illustrates just how versatile Marino is. Compared to his recent flamenco interests, this album is fired with a more rock-based influence. Even within this narrow field, Marino exercises an effortless freedom of speech which spreads the material into a variety of different colours. The conversational key changes of “Jasmine” beautifully balance the more ruthless “El Salvador.” This in turn contrasts strongly with the sweltering languor of “Look Into The Sun,” which paints a sun baked landscape, too hot for bare feet. Marino’s refreshing back-to-back basic’s approach to his work is emotive and fluid. In a  market-place void of eroticism, this album is an oasis of sensuality.”

4/5


COMPLETELY GONE (El Rose, Not Marino)

Kerrang! Magazine, March 10 1990

Written By El Rose

“If there’s one thing I can’t stand it’s self-indulgent widdly-widdly guitar albums: nothing but screaming solos, fingers running up and down the fret in endlessly complicated and ultimately tedious scales. All the thought goes into the technical expertise and there is precious little left over for feeling.

Enter Marino; the exception to the rule. There’s nothing over the top about Marino’s playing, no prima donna theatrics. But there’s guts and soul to spare. It might not be Heavy Metal, but if you can forgive that you’re in for a rare treat.

There aren’t many people still playing the old kind of blues based rock that Metal originally grew out of- and that’s a shame, because there’s a lot of mileage in that older style of laid-back guitar playing, something Marino proves continuously throughout this album.

It’s consummate Sunday afternoon music, and now it’s actually available in the shops I suggest you go buy it and make the man a megastar so he can start getting the beers in.”

KKKK


AFTER FOREVER’S GONE

Metal Hammer Magazine, March 26-April 8 1990

Written By Lyn Guy

“For years, since the ill-fated and summarily awful “ECT” programmes, I’ve held a slightly jaded view of Marino- never quite trusting in his much touted (mainly by himself) supposed talents. Too much had been said to the contrary to make me feel inclined to take him seriously.

So I approached “After Forever’s Gone,” with claws-out relish, only to have to swallow my preconceptions in double-quick time. Admittedly, it is only Marino’s already established Rock persona that gains the album it’s Metal Hammer lineage. A previously unknown guitarist releasing a collection of white man’s Blues neo-classical compositions and John Williams style guitar visions (spiced from time to time with a touch of flamenco fire) wouldn’t stand a chance.

However, the fact remains that Marino- whether under the guise of Rock, Blues or Classical player- is revealed on this compilation of his various instrumental projects as a musician of great sensitivity and no small amount of imagination. “El Salvador” and “Borderline” are the only true “Rock” workouts in evidence- both heavy on the rhythm section and the latter bouncing along in spirited fashion with the bass and drums providing a strong counterpointed beat against Marino’s lively finger-twisting runs.

“Jasmine” is as light and delicate as the flower it takes it’s name from, whilst the title track, though short, is played with exquisite tenderness and it’s quite lovely- as crystalline as the raindrops falling in the background. For the Blues fans, “Look Into The Sun” is redolent of the late Paul Kossoff and “Did I Say That?” moves with the varied pace and feel of a high quality jam session.

I could go on about “AFG” is not specifically Heavy Rock/Metal I doubt I’d be allowed the space. Suffice to say that out esteemed Editor’s past description of Marino as “guitarist for all seasons,” could not be more apt.”

3/4


AFTER FOREVER’S GONE

Music Week March 24 1990

Written By KB

“Marino is a guitarist with one big hero: Carlos Santana. His atmospheric playing has all the hallmarks of the man, except the for the lack of latin flavoured percussive backing, but still this instrumental compilation of material from his self-financed four solo albums carries an air of integrity. Yes, it’s derivative; even the themes of sun, light and sky bear no surprises, but there’s no denying he can play.