Over the last few days, Magnum fans the world over have been mourning the loss of founding member, guitarist and songwriter Tony Clarkin. Forging a 50-year partnership with Bob Catley and a range of other excellent musicians, Tony Clarkin, among the best but also underappreciated songwriters in rock, was the driving force behind the band, their music and their longevity. Fans could long debate their favourite tracks and there is likely to be much variation within rankings.
When reviewing albums and singles at Hotel Hobbies, I try to look at the music without bias and give my honest, independent critical appraisal. For this article, I make no such promise: Magnum have long been a favourite band of mine and Tony Clarkin has had a profound influence on my musical journey. Thus, here are twenty songs (I could easily have listed fifty) presented in chronological order - no rankings - that have deeply resonated with me over many years and I have listened to hundreds of times, or in some cases, have burrowed their way into my soul in just a few short weeks.
It is not possible to sum up the joy that Tony Clarkin brought to so many in just twenty songs. This is not meant to be a definitive list of Magnum’s best songs but a deliberately career spanning retrospective and tribute, wandering through some (again I could name many more) of my own personal favourites. Many are amongst the band’s most popular songs; some are hidden gems (although maybe not for avid Magnum fans), but all are testament to the inspirational songwriter that was Tony Clarkin.
Kingdom of Madness
(Kingdom of Madness, 1978)
Although just four and a half minutes long, Kingdom of Madness has the sweeping feel of an epic. Emblematic of their style, the title track of their debut album features strong vocals, intricate guitar work and a blend of both the grandiose and of the melodic. Considered a classic within the Magnum catalogue and an integral part of their early appeal, Kingdom of Madness remained in the setlist ever since its release.
Stayin’ Alive
(Magnum II, 1979)
A beautiful early deep cut, wonderfully showcasing Bob Catley’s incredible voice and Tony Clarkin’s already developing skills as a songwriter. Richard Bailey’s piano opening is amongst the most poignant moments of Magnum’s entire discography. A reflective and philosophical take on life’s journey, decision-making and the inevitability of time, Stayin’ Alive balances the use of acoustic guitar with the more decisive interjections of bass and drums demonstrating the band’s evolution in their arrangements.
Sacred Hour
(Chase The Dragon, 1982)
Lyrically covering some of the same themes as Stayin’ Alive, Sacred Hour examines the complexities of our relationships with our ambitions, the pursuit of recognition and the tension between the ephemeral nature of life and the desire for lasting impact. Clarkin had already written some memorable songs but Sacred Hour might be his first out-and-out masterpiece. From the stunning keyboard introduction courtesy of Mark Stanway to the blistering guitar solo and deeply meaningful lyrics, Sacred Hour is a key part of Tony’s legacy.
The Great Disaster
(The Eleventh Hour, 1983)
Often overlooked due to the two albums released either side of it, The Eleventh Hour contains several extremely worthy tracks. The Great Disaster is the heaviest song on the album, with genuinely crunching riffs from Clarkin and some absolute progressive moments from Stanway. Structured as a series of pieces of advice to the listener, The Great Disaster cautions against being misled by superficial appearances and the false sense of security they offer.
On A Storyteller’s Night
(On A Storyteller’s Night, 1985)
There was time when it seemed like The Eleventh Hour was going to be the last Magnum album. Thankfully, they continued and produced their seminal album: the flawless On A Storyteller’s Night; it has long resided within my top five albums of all time – any song on the album could have been included in this write-up. The title track, a song they would continue to perform for almost forty years, displays Tony Clarkin’s ability to blend powerful yet elegant and lyrical guitar with haunting atmospherics.
Les Morts Dansant
(On A Storyteller’s Night, 1985)
Earlier I stated that every Magnum fan’s personal highlights would differ but I have yet to meet a Magnum enthusiast who had anything but positive things to say about this song. Despite the consistent strength of On A Storyteller’s Night, this still stands out. Encapsulating everything that was invigorating about Magnum at this time, Les Morts Dansant drips with pathos and is a contender for Tony’s finest lyrical achievement.
Need A Lot Of Love
(Vigilante, 1986)
A transitional album for the band, Vigilante saw the band heading in a more commercial and polished direction but throughout this time, the standard of the songwriting never diminished. Although Need A Lot Of Love is lyrically exquisite, the lyrics are unfortunately still relevant almost forty years after they were written. Stunningly arranged and impressively performed by the entire band, it remains a fan favourite.
Vigilante
(Vigilante, 1986)
Vigilante contains a lot of up-tempo rock songs typical of the time of release and there is not a single one that I do not enjoy; nevertheless, it is the title track that I hold the most love for, tapping into the themes of justice, desperation, and the human desire for a hero or saviour - whether that could be seen as a symptom of societal failure or as a beacon of hope for those feeling unprotected. As he did so often, Tony Clarkin take a serious subject and uses it for a ludicrously absorbing song. Wally Lowe’s bass work was never better and it was a guaranteed crowd pleaser whether Magnum played it early in the show (often second) or as a rousing finale to the main set.
Wild Swan
(Wings of Heaven, 1988)
Wings of Heaven heralded the arrival of Magnum’s fully deserved most commercially successful period and while some of the songs on the album certainly fitted a more contemporary mould, the band did not lose sight of producing expertly crafted tracks. Wild Swan, which according to Tony Clarkin’s own insights in the Wings of Heaven tour programme could have been a longer song, is yet another example of Magnum at their best and up there with Bob Catley’s best performances on any album.
Don’t Wake The Lion
(Wings of Heaven, 1988)
The longest song that Magnum ever released (and the only one to exceed ten minutes), Don’t Wake The Lion is a multi-part epic about the futility of war – a subject Clarkin returned to many times throughout his life. Blending the band’s progressive roots with the development of their sound through the latter half of the 1980s, it shifts through a range of emotions, spoken word and a defiant narrative. A contender for my favourite Magnum song of them all.
Where Do You Run To
(B’ Side of Rockin’ Chair, 1990)
During the 1980s and early 1990s when the singles market truly meant something, bands spent time recording extra songs and whether songs did not fit on the album for reasons of time or style, some ended up as B’ Sides. Magnum, like their contemporaries such as Marillion, produced some excellent tracks that were used for this purpose. Fans often hold tracks such as this in high regard and when I bought the Rockin’ Chair single at the age of seventeen, Where Do You Run To became an immediate personal favourite.
Only A Memory
(Goodnight LA, 1990)
By the time Magnum came to record their eighth album, Polydor had decided that they needed the band to break America. With additional songwriters on some tracks, the band headed to the other side of the pond to work with Keith Olsen. Fans are often split about the merits of this album; however, as the regal and glorious Only A Memory shows, there are still enough moments of Clarkin sparkle to make Goodnight LA a worthy addition to the Magnum discography.
Sleepwalking
(Sleepwalking, 1992)
An album held in high regard by many Magnum fans, it saw a return to more familiar territory for the band (including the artwork of Rodney Matthews) while retaining some of the sleeker characteristics of its predecessor. Several songs on this album are amongst my favourites (The Flood, Just One More Heartbreak and Stormy Weather for example) but I really enjoy the central ominous instrumental section and the literary references throughout Sleepwalking’s lyrics.
On Christmas Day
(Rock Art, 1994)
Returning once again to the theme of war, Tony Clarkin produced another classic to close the Rock Art album. On Christmas Day is cinematic in approach and well judged to reflect the serious subject matter. Each member of the band were on fine form for this multi-part epic, which was re-recorded ten years later with the new line-up to be released as a single. Soon after the Rock Art tour was completed, the band went on an extended hiatus and fans wondered if this was to be the last song they ever would ever release.
Immigrant Son
(Brand New Morning, 2004)
Fans of the band were delighted when Magnum reformed (with a new rhythm section) for the release of Breath of Life which served as a crossover between Hard Rain and the band’s evolution over the next twenty years. They really began to find their way again with the release of Brand New Morning; however, gritty rocker Immigrant Son (a song I wished I had seen them play live) remains a hidden gem within the Magnum catalogue.
Dragons Are Real
(Princess Alice and the Broken Arrow, 2007)
Princess Alice and the Broken Arrow is often regarded as a highlight of the band’s discography after they reformed. The return of Rodney Matthew’s artwork certainly helped in establishing the album’s identity and it found the perfect equilibrium between the band’s classic sound and their more recent direction. Dragons Are Real shows how a love of reading can ensnare us all.
The Visitation
(The Visitation, 2011)
Many of Tony Clarkin’s lyrics clearly point to their meaning but as he often mentioned, he did not particularly want to explain his intentions behind them, preferring listeners to come to their own conclusions; however, he did indicate at the time of release that The Visitation was the most personal album the band had produced. The title track includes some of his most interesting lyrics, perhaps conveying a journey through darkness and uncertainty towards a moment of revelation or comfort.
All The Dreamers
(On The 13th Day, 2012)
Opening tracks are a strength of almost all Magnum albums. All The Dreamers opens On The 13th Day with a steadily building, brooding introduction. Tony Clarkin was a master when deciding whether a song should be piano or guitar driven (even down to sections within the same track) and those who are only casual Magnum fans do not always realise just how versatile a player he was. Here, he treats us to powerful riffs alongside some poetic and sumptuous work in the background.
Twelve Men Wise and Just
(Sacred Blood, “Divine” Lies, 2016)
Sacred Blood, “Divine” Lies compares favourably to any album the band have released, whether before or after their time away. Twelve Men Wise and Just brings together many of the aspects which make Magnum such an exceptional band: lyrical depth, traversing different musical tones, enchanting keyboard flourishes (such as the simple but effective moment after the lyric, Make sure your head don’t get stuck in the clouds), Clarkin’s driving guitar and solid back up from the rhythm section.
Madman Or Messiah
(The Serpent Rings, 2020)
Magnum were releasing an album every two years and ever other January was a fine time to be a fan. Maintaining the quality of song writing across ten years is a struggle for many bands; by this point Tony Clarkin had been doing it for over forty. Madman Or Messiah further demonstrated his enduring skill for composing songs with compelling hooks, melodic choruses and thought-provoking lyrics.
The Day He Lied
(Here Comes The Rain, 2024)
I was lucky enough to receive Here Comes The Rain several weeks before release to review and I always treasure the opportunity I had to appreciate the album before last week’s tragic news. It is an exceptional album and a fitting final piece of Tony’s legacy. Tony Clarkin might have written all the songs but he was also adept at putting across his songs to other members of the band and inspiring them to great performances. That team ethos is vividly demonstrated on this stimulating and commanding track.
There will be many different opinions on the tracks that other would put in such a tribute but what cannot be denied is the strength and depth of the music that Tony Clarkin left for us to enjoy again and again. He will be sadly missed.
Written: 13th and 14th January 2024
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