Mike Marlin - Stayin' Alive Single Review

After spending most of his adult life thus far in the musical wilderness, Mike Marlin, not as he may sound a specialist fisherman, has decided it's time to share his songs with the world. To facilitate this he has chosen as his first single a rather questionable cover. He confesses he's nothing like the band and will not let you know why after all these years, he's no spring chicken, having made all the effort to go public he's plumped for a 70's Bee Gees 'Classic'. What may be even more surprising to learn is that this single will not be included on his debut album, 'Nearly Man', due for release next year. There's nowt so queer as folk, eh.

Since meeting music producer James Durrant, Marlin has shrugged off his nearly man status and decided it's time to stop skulking at the back of the stage playing bass for bands that are never likely to make it. "There is no comparison between playing bass in a band and being the frontman. You may be only four feet away in terms of where you're standing but it's a hundred million miles away" he suggests.

Mike's first commercial foray into the mainstream is somewhat of an oddity. It's certainly a different take on the original and isn't without interest or charm. It does however come across as a bit of a novelty, a bit like Travis doing 'Hit Me Baby One More Time'. Whilst there's absolutely nothing wrong with that when taken in the obvious spirit with which it was recorded, it was put out as a B-Side when they were at the top of their game. Although Wimbledon Mike may have the seniority of years he's still a 'new' artist as far as the public are concerned and this paired down dirtier and heavier version of the tune may not be enough, the horns are a nice touch though.

'Stayin' Alive' does at least allow you to hear Mike's greatest asset, his voice. Rich with texture, deep and smooth with warmth and age it should bode well for his more personal renditions of those songs he has been eager to get out for all these years when his album surfaces in February.

Andrew Lockwood