“Viva Marina”- A Review

In a time where iconic record companies like Motown, A&M, and Elektra are currently part of largely faceless conglomerates – and very little middle ground between those monoliths and independent artists – the idea of record labels having an identity often seems like a relic from another world. Seen in that light, Marina Records is a joyous anachronism. Founded in Hamburg, Germany, in 1993 by Stefan Kassel and Frank Lähnemann, who continue to run the label, Marina remains proudly focused on what they call “the three BIG Bs”, referring to Burt Bacharach, the Beach Boys, and The Beatles.

While those influences are readily apparent across the label’s releases, such as their popular Brian Wilson tribute Caroline Now, their latest record aptly demonstrates that respect for tradition and contemporary music are not mutually exclusive. Viva Marina is the label’s 100th release, and as a compilation, this 21-track set offers an excellent opportunity for music fans to sample their work.

Central to this is Scottish band The Pearlfishers, which has been one of Marina’s mainstays since their 1997 album The Strange Underworld Of The Tall Poppies. The band and its leader, David Scott, figure in no less than six tracks on Viva Marina.  In addition to “Limelight,” a new piano-based track by The Pearlfishers, the collection features songs from Scott’s side projects The Tall Poppies and Oscar In Venice as well as a jazz interpretation of The Pearlfishers’ instrumental “The Vampires of Camelon” by The Colin Steele Quartet.

The collection also features Scott’s first solo recording, a rendition of Taylor Swift’s 2020 hit “The Last Great American Dynasty’ as well as a cover of The Roches’ “Hammond Song” that he recorded with Teenage Fanclub singer Norman Blake.

While the latter song might seem more on brand for an indie-label artist, Scott is known for appreciating quality songwriting regardless of genre or the preconceptions that accompany a song’s popular success. Asked what inspired him to record Swift’s song, he addressed that sense of tradition. “It reminded me of a compilation album my dad had at home called Good Morning America. It had songs like “At Seventeen”, “Me and Bobby McGee”, “City of New Orleans”, “Year of the Cat”. Loads of storytelling songs – it was a really big influence on me in my songwriting. So when I thought of doing it I imagined what it would be like sitting on that compilation album.”

Quality songwriting is at the core of Marina’s output, and Viva Marina emphasizes that point. Athens, Georgia, artist Brent Cash released three records for the label. His songwriting is represented here by “Good Morning Sunshine”, a gorgeous track from his first album, How Will I Know If I’m Awake, that evokes the 1970s golden age of singer-songwriter pop songs. Scottish group The Bathers likewise released three albums on Marina. “No Risk No Glory” is a jaunty gem from their 1997 record Kelvingrove Baby.

Over the years, Marina has provided a haven for numerous bands from the United Kingdom who’ve gotten lost in the shuffle of that notoriously fickle music scene. Among those appearing on Viva Marina are Liverpool group Shack – an outgrowth of cult favorites The Pale Fountains – and Manchester’s Dislocation Dance. Shack’s contribution “Carousel” was described by AllMusic.com writer Tim DiGravina as “perhaps the finest Nick Drake song that Drake didn’t write. Dislocation Dance’s jazzy “It’s A Long Way Down” is of similar vintage and style to the band’s latest album, Road To Happiness, which Marina released in 2025.

The press release announcing this collection noted that Viva Marina doesn’t just feature the label’s own artists but also a number of “kindred spirits”. This includes a pair of songs by German artists admired by Marina’s principals. In addition to being excellent pop records, “Irgendein Französischer Film” by Frank Schmiechen and “Ich Find Dich Gut” by Michel Van Dyke exemplify the international scope of Marina’s vision.

Despite its performer being better known to American listeners than many others here, the same is true of the closing track, “Chateau Marmont” by Van Dyke Parks.

Beyond his association with one of Marina’s “Three BIG Bs”, Parks’ brief instrumental provides the perfect bookend to this melodically rich compilation in tandem with its opening track, “Listen” by The Free Design. Though this late-1960s ensemble didn’t achieve commercial success prior to disbanding in the early-1970s, they were influential on later artists such as Beck and Stereolab. After reuniting to record a song for Marina’s Brian Wilson tribute, Caroline Now, in 2000, the group recorded a new album the following year. “Listen” is a standout from that 2001 reunion – one of the many examples of why the UK magazine Shindig! described Marina Records as “honourable purveyors of perfect pop.”

-Don Klees

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