MARILLION

As well as providing more or less everything that the previous 2CD remaster of Clutching At Straws offered, plus a Blu- Ray of extras, this lavish boxed set also includes a real treat: a two-disc recording (complete bar for the end of the closing Market Square Heroes medley) of the band's 19th December 1987 gig at the Edinburgh Playhouse. Extracts from this visit to Fish's native Scotland on the Clutching At Straws tour had appeared on The Thieving Magpie, but here the concert gets a new mix and you get all the songs in their original context, complete with Fish's between-songs banter.

Perhaps it's just that Christmas is coming up and they're feeling cheerful, but the band are performing well here, with no signs of the behind-the-scenes tensions which would eventually put an end to the Fish-era lineup by the time the Clutching At Straws tour wrapped. Marillion fans are well-served for live releases from the Clutching At Straws era - what with it also being represented by Live At Loreley and a show each from the Early Stages and Curtain Call boxed sets - but honestly, when the band sounded so good and when their set was so loaded with classics, that's no surprise, and it's lovely to have another gig from that era in the collection.

Happiness Is The Road is an album review that I have sat on for quite a few years as I felt that I could not expound on the music offered up on this double CD album. In order to clean out the files, I have decided to focus on the message that's behind the music and it's author in an effort to shed some light on this somewhat unusual album. Marillion vocalist Steve Hogarth, or just "H" as he's known, is someone that's quite concerned with the mental and spiritual well being of both himself and Marillion's audience. Hogarth finds that a wonderful lyrical topic from time to time and it's these musings that make up the entire first CD that is subtitled "Essence". The music on these vignettes are the type of quiet atmospheric offerings that we have come to know from Marillion up this point. There is absolutely no standard verse, chorus, verse and chorus structures in these songs and they are incredibly draggy. "H" is quite determined to tell us that one's happiness is a state of mind, the glass is half full kind of thinking, which I suppose has merits if one is not in some kind of dire straits like living in a war zone or in a country struck down by famine. The punch line is the lyrics to the album's title track "Happiness Is The Road" where "H" tells us that it's not what's at the end of the road that brings us happiness but traveling on the road itself. The old wisdom tale that the journey is actually the destination, or sentiments to that effect. All nice, I suppose, but far from exciting prog.

CD 2, subtitled " The Hard Shoulder", dispenses with "H"s preaching and serves up a wonderful group of nine Marillion prog rock songs with wonderful keyboard textures, emotional and witty guitar solos and excellent bass playing that makes each song quite a wonderful listen while trying to anticipate what turns the band will take next. Indeed, Hogath's vocals are quite stellar on both of these discs and the music found on disc 2 is certainly a precursor to the excellent Sounds That Can't Be Made album that was shortly to follow. All of the songs on the second disc are entertaining with "Whatever Is Wrong With You" being a missed opportunity at the band having a hit single so late in their career. Very unfortunate.

If the music on this double CD album had been issued separately, I would have no qualms with awarding disc 1 with 2 stars as it's quite forgettable. But disc 2 is worthy of 4 so that puts us at an average of 3 stars for Happiness Is The Road. And that's enough to make one a bit sad, unfortunately.

Marillion had attempted to reach a wider audience with a more pop-oriented album called "Holidays in Eden" which was released back in 1991. When that failed to accomplish that goal, they returned to their progressive sound with this much better album "Brave", released in 1994. Overall, this was their 7th studio album, but only their 3rd with lead singer Steve Hogarth, and the band was trying to figure out what their overall sound should be without Fish at the lead singer position. The rest of the band consists of Steve Rothery on guitar, Mark Kelly on keys, Pete Trewavas on bass and Ian Mosley on drums.

The original vinyl edition, and all the vinyl reissues contain a double groove throughout side 4, which gives the story in this concept album two possibilities as endings. Even so, there is room for interpretation on the second ending, but it hints at a sad ending. The CD contained the happy ending which is the one that most listeners are familiar with, but it did not have the sad ending. However, there was a 50 minute film version released a year later, which uses the sad ending.

Things start off with "Bridge" which starts off with a mostly instrumental opener. With a background of a ship's horn and such there is a sad melody established by synths and vocals eventually start staying pensive and sad. This continues into the next track "Living with the Big Lie". Continuing with the same pensive, sad sound, it eventually shifts to a major mode and the entire band joins in as the tempo increases and things become more intense, culminating in an excellent guitar solo. Things soon calm down and then intensify again. Hogarth's dramatic vocals are perfect for this symphonic style the band was shifting to. "Runaway" has more of a rock ballad feel to it, but with a more complex melody than most ballads, even though the structure is more standard than the previous track, yet it is still heartfelt and lovely.

"Goodbye to All That" is a 5 part suite which chronicles the main character's fall from grace. Starting with the slow section called "Waves" we get a short introduction, but this soon morphs into a darker and much heavier track with "Mad". Hogarth's vocals exude chaos and insanity and the guitar solo reinforces that. Things calm as we enter the next section called "The Opium Den" as the keys take over along as a echoing guitar plays softly along and whispered vocals try to soothe. Things get a bit psychedelic and disjointed after a while as the music floats along and subdued vocals continue with occasional effects. A quiet percussion pulls things back together and eventually brings the music back to the surface. A wild guitar effect represents "The Slide" subsection, and then the final section "Standing in the Swing" consists of electronic piano and vocals. After a while, intensity builds again for a climatic ending, which actually flows into the next track.

"Hard as Love" begins as a more straightforward rocker, but still a very emotional, yet heavy track. The middle section slows quite a bit and becomes pensive with keys, soft guitars and mellotron. This builds again becoming even more intense this time culminating in a great organ solo. "The Hollow Man" is a slow piano/vocal ballad. Halfway through it is joined by soft percussion, mellotron and guitar.

"Alone Again in the Lap of Luxury/Now Wash Your Hands" starts immediately with the full band in a mid-tempo track. The first section is quite straightforward with nice harmonics on the chorus, but there is a blistering guitar solo on the instrumental break. Things intensify a bit after another verse for an extended guitar solo. The 2nd section is more atmospheric and fairly short and a small vocal section ends the track.

"Paper Lies" is a sudden upbeat track and is another straightforward rocker that could have been an accessible single as it sounds quite radio friendly. The tempo slows on the bridge but picks back up again. "Brave" comes directly off the high of the previous track starting with a sustained keyboard drone which is joined by a celtic sound. Vocals start with a more pensive atmosphere and a beautiful melody. There is a change in the feeling at the halfway point of 4 minutes as the keyboards bring in different textures and sounds and things brighten up. Voices and laughter ring out in the background as an echoing vocal floats over the shimmering synths.

"The Great Escape" begins with a more melodic vocal and soon the band and vocals swell to an emotional and dynamic track in the first subsection called "The Last of You". Another great guitar solo strengthens the power and emotion of the song. The 2nd subsection "Fallin' from the Moon" has a stately feel as it gives the impression of resolve, but it seems to end quickly. "Made Again" is the last track, at least for the happy ending and the original CD. Beginning with a brighter sounding vocal and a lone guitar, after 2 minutes, things turns even brighter as acoustic guitar establishes a rhythm and there is a theme of rebirth and cheerfulness.

On the vinyl edition, the 4th side features the 2nd groove that gives you a sad ending to the story to the album where the main character makes the decision to end it all. "The Great Escape (Spiral Edition)" has a more dramatic and darker sound than the first ending and the vocals are angrier but turn sad and dark in the end. On the vinyl after this, there are 6 minutes of water and wave noises, while on the re-issued CD version, there is only 1 minute of the sound effects which fades for 26 minutes of silence. If you persevere for that long silent break, you get to hear a goofy version of Joplin's "The Entertainer" with the band joking around.

To the date of the release of this album, this was the best Marillion album to follow Fish's departure. Hogarth proves his ability to sing emotional and complex vocals and the band proves they can pull off making an album that is both progressive and accessible. There are sections that do lack progressive moments and are quite straightforward, but there are also tracks with progressive elements, so most everyone is happy in the end. The story is also powerful and well presented in the lyrics and the emotion of the entire band. Still, it's not a perfect album, but it is definitely excellent with many high points and it shows that Marillion still has a creative edge, however that would disappear and reappear in the years to come.

In 1983, musical world seems to be in a dead-end. While the big Zeppelin did crash after Bonham's dead, Pink Floyd was releasing the 1st Roger Waters solo album Final Cut. Genesis and Yes were going nowhere with the Genesis album (aka Shapes) and 90125.

Then radio station CHOM-FM started to play a song called He Knows You Know on a regular basis. It is that year I discovered Marillion. Script For A Jester's Tear still remains a masterpiece today and the best album produced by the band. Despite the poor drumming from Mick Pointer, this album has everything a prog lover can ask for, including the wonderful illustration from Mark Wilkinson.

Album starts with what is probably the most emotional song Marillion did write. Script is that good. I love this song. Everything seems perfect in this 8+ minute song. From the a cappella "So Here I Am Once More" to the final "Can You Still Say You Love Me", the song is a roller-coaster between great guitar solos and more quiet sections.

He Knows You Know and Garden Party are the most straight-forward songs and are very good. The Web and Chelsea Monday are both real gems with again great guitar parts by Rothery.

Then, the grand finale of the album, Forgotten Sons. Starting with sounds coming from many radio channels, including snippet of Market Square Heroes, the song hits us right from the beginning. Each and every musician has his shining moments. Even the drum is sounding good, thanks to the military march beat. The final section, sung by Fish, starting with "You're just another coffin" is just to give goose bumps.

With this first album, Marillion did help the progressive music to stay alive. I did listen to those songs thousand of times since 35 years, and they are as good as they were back in 1983. Masterpiece, I give 5 stars.

This is Marillion's fourth and final studio album before the departure of the original vocalist-lyricist Fish and the arrival of Steve Hogarth, with whom the band would steer into quite another direction over the decades to come. It's clearly my favourite of the Fish era, and happens to be among my dearest vinyls. I had waited anxiously for its release, as it was during the two-year period of my most dedicated fandom ever [for any artist], in the age of 16-18. I liked it right from the first listen and I've never grown tired of it - having wisely avoided to over-play it all these years. Compared to the breakthrough album Misplaced Childhood (1985), this sounds more mature and far less cheesy. As great as MC is in its suite-oriented coherence and continuity, Clutching at Straws is sonically much more nuanced to my ears, and furthermore I think it has the finest lyrics Fish has ever written.

'Hotel Hobbies', 'Warm Wet Circles' and 'That Time of the Night' form a mini-suite which is simply fantastic. Already in the opener the dynamic changes from delicacy to intensive outburst and back is spellbinding, while the melodic and lyrical content in 'W.W.C.' is awesome. I'm even fond of the quiet interlude-like section ("It was a wedding ring, destined to be found..."). This opening suite is a good example of how Steve Rothery's guitar has much more elegance and variety in sound than on earlier Marillion albums. The CD version contains 'Going Under' which I know as a single's B-sider. Not quite up to the high quality of the album, this simple and introspectively moody little song, but an OK addition.

'Just for the Record', a song about alcoholism, is a minor prog gem hidden behind the "drunken" fast-tempo intro, and contains a really cool synth solo. 'White Russian' is a strong classic, with hair-raising lyrics written in Vienna: "we buy fresh bagels in a corner store, where swastikas are spat from aerosol".

The second side is not quite as perfect, but great enough not to drop my full rating. 'Incommunicado' sounds like an attempt for a hit single (I don't know if it was one), but its positive energy is pretty enjoyable nevertheless. 'Torch Song' is another fine song about drinking. I like the spoken dialogue of Doctor Finlay and Mr Torch. 'Slàinte Mhath' used to feel slightly duller than the album in general, but it has aged very well, and admittedly it was a good concert opener at the time. 'Sugar Mice' is the most sentimental song, not necessarily progressive but emotionally all the more impressive. Again, the lyrics - soaked in self-pity - really get under one's skin. 'The last Straw' is a powerful end piece for this excellently produced Neo Prog album. A definite masterpiece of its era, and a timeless classic.

Brief Encounter is aptly named - it's an EP churned out by EMI in a bid to introduce Marillion to the US market, where they'd be supporting Rush on the Power Windows tour. It collects the two major non-album B-sides from the Misplaced Childhood era (Lady Nina and Freaks) with a clutch of live tracks from the Hammersmith Odeon concerts in January 1986. It's a pleasant enough listen, but those B-sides are hardly essential and more satisfying live albums from Marillion are readily available. These days, the easiest way to get Brief Encounter is as a bonus disc on recent CD reissues of Real to Reel, and I'd call that about right.

"Neo-prog 'guilty pleasure'?"

1. Kayleigh (03:33)

Between the albums Fugazi (1984) and Misplaced Childhood (1985) EMI and Marillion negociated about the music: the band wanted to make a concept album, EMI was OK but on the condition that Marillion delivered a commercial song, for a hit single. Well, we know the result, that commercial song became Kayleigh: it reached the #2 position in the UK (in The Netherlands #12, in Germany #7 and in the USA #74) and it remained 14 weeks in the charts, then Marillion got the headline spot on the Milton Keynes festival and all concerts at the Wembley Arena were sold out, incredible for a progressive rock rooted band!

About the title Fish said: "I'd wanted to write a song about a girlfriend I'd split up with, whose name was Kay (in 2012 she passed away). Which of course we couldn't do. So we added her middle name, Lee, and it became Kayleigh instead. "But it wasn't just about Kay, it was inspired by three or four different people in my life."

The song starts with a fragile guitar riff that carry you away to a climate that alternates between romantic and melancholic, perfectly blended with Fish his tender vocals. The refrain features a soft outburst in which Fish sounds more powerful, to emphazise his deep feelings about the broken relationships. Halfway Rothery delivers a splendid guitar solo, very moving and powerful, as a long and desperate cry how it all went wrong. In the final phrase "Maybe it will prove that we were right. Or ever prove that I was wrong" Fish strongly sings the word "wrong" and the music fades away.

This timeless composition made many fans happy and lots of daughters were named Kayleigh. But listening to Kayleigh I still have strong mixed feelings after all those years, is this a brilliant ballad or a tedious tearjerker? Well, from now on it's my 'guilty pleasure'.

2. Lady Nina (03:41)

Fish said: "I was going through a very Bohemian element, you know. I remember hanging about this place called 'Rasputins', which was one of the famous German brothels, and I used to go along and just write there at night with the girls, and talk to the girls, sitting in the red light of the bar. Lady Nina was written there."

Typical early Marillion neo-prog song featuring strong guitarwork, propulsive drum beats, an important role for the vocals and lyrics from Fish ("I know you'll never act with me, I know that you're in love with me. So how do I compare to the sailors of the ships of the night? Was I all right? Did you come tonight, lady Nina?" and in the final part pleasant synthesizer flights.

1. Punch and Judy (3:18) :

Punch And Judy was the first song I ever witnessed live from Marillion, on the annual Dutch Pinkpop festival, in 1984 (60.000 visitors). With a few hundred Marillion freaks we had gathered in front of the stage and when Marillion arrived , they were welcomed as 'neo-prog heroes'. Soon after the band had started the concert with Punch And Judy, I was in the middle of a jumping, yelling, roaring, swinging, singing and clapping crowd. And everybody joined Fish his animated gestures ('Punch, Punch, Punch'), wow, welcome to the realm of Neo-Prog. This song-oriented and melodic new genre appealed to many young people, and for the first time in my life I noticed a lot of women between the audience! On one hand they wanted to swing, sing and clap with Neo Prog, on the other hand they wanted to be mesmerized by an Old School Progrock frontman, with a painted face.

A strong point in Punch And Judy are the lyrics: a cynical lookback at a marriage that started romantic ('Whatever happened to lover's lane. Whatever happened to passion games. Sunday walks in the pouring rain.') but gradually the husband got bored ('Now I vegetate with a colour TV') and finally wanted to get rid of his wife (World war three, suburbanshee. Just slip her these pills and I'll be free. No more Judy, Judy, Judy no more. Goodbye Judy.'). Briljant cynical lines, in my opinion inspired by his own difficulties with relationships (part of his borderline personality-like behaviour).

Musically this is a strong, typically neo-prog composition, the subtle slowdown and accellaration moments are fuelled by a dynamic rhythm-section (inluding the outstanding new drummer Ian Mosley) and the colouring by guitar and keyboards is tasteful, but also functional to the vocals and lyrics.

The cover art is also great, showing the marriage in its final state, hilarious but with a dark Roald Dahl-like undertone.

2. Market Square Heroes (4:48) : A splendid rock song with powerful vocals and pleasant work on guitar and keyboards, a perfect crowd pleaser!

3. Three Boats Down From The Candy (4:02) : Another very good rock song featuring Fish his distinctive vocals.

My rating: 3,5 star

Side 1 :

Assassing - full version (7:01) :

On my 12" version of the Assassing single by Marillion everything matches: the intricate Mark Wilkinson cover, the dynamic neo-prog, the passionate vocals, the venemous lyrics and, last but not least, the outstanding drums by new member Ian Mosley.

About the sultry intro Steve Rothery told: "The germ of the idea came while we were writing at Mountain studios in Wales in the summer of '83. I'd just got my Roland guitar synthesizer and was experimenting with it and Fish had been driving us all mad by playing Islamic records he'd got from Peter Hammill, at great volume all the time".

Then a catchy beat and dynamic music, focussing on Fish his vocals and lyrics, pretty emotional and personal. I read that Fish his sarcastic lines point at his former friend and ex-Marillion drummer Mike Pointer, Fish was very disappointed about him and felt bitterly hurt. This generated wonderful poetical words with a bitter undertone: "I am the assassin, with tongue forged in eloquence. I am the assassin, providing your nemesis." To emphasize his anger he repeated the words "My friend" several times, spoken with a lot of venom!

We can also enjoy a powerful guitar solo, Mark Kelly his distinctive synthesizer flights and Ian Mosley his fluent drumwork. But Fish shines with his vocals and creative lyrics, loaded with references, like: "The scarf with the fugi knot" (Fugi is a corruption of Thuggee, worshipers of Kali who would strangle their victims in the name of religion. The method of strangulation was by a yellow scarf into which a one rupee had been knotted.) and "Non-com observer" (this refers to non-combatant, not non-commissioned, in this case. It was a term used especially in Vietnam and Korea meaning film crews, journalists, photographers and the like who were involved in the documenting of events, and were not required to take part in any military action."). The dynamic and melodic atmosphere on Assassing (typical neo-prog) appealed to the fans,. And it became a popular composition during the concerts, also due to Fish his mesmerizing stage antics.

Side 2 :

Cinderella Search - full version (5:24) : Originally this is a not a Fugazi album track. The atmosphere is mellow featuring the sentimental side of Fish ( wonderful poetry with a strong Freudian undertone, about sex, addictions and fear for rejection) and sensitive electric guitar runs. Halfway a short break, then a compelling accelaration with powerful drums, melancholical vocals and fiery electric guitarplay, slowly fading away. Simply beautiful.

Assassing - edited version = not on UK version (3.38)

The single reached the #22 position in the UK charts in May 1984, supported by a smooth video featuring Fish like a kind of New Wave singer. But on stage Fish was way more captivating, with a new outfit for Assassing during the Real To Reel tour (late 1984), see my avatar.

My rating: 3,5 star.

Between 1980 and 1982 Marillion had worked on a strong live reputation, and earned a large and fanatic cult following. In the end it was EMI that recognized their huge potential, culminating in the debut album Script For A Jester's Tear (1983) and a serie of singles since Market Square Heroes (1982). The collaboration with Mark Wilkinson and his mindblowing artwork contributed to the magic of early Marillion. I was lucky to find my first regular job in 1982 so I could purchase all those (pretty expensive) early Marillion singles and t-shirts, embellished with the highly imaginative Mark Wilkinson artwork.

One of my favourite Marillion singles is Garden Party. In an interview on the Internet Fish explains the content: "Garden Party is a cynical outlook, the microcosm of Cambridge where the upper class is used to uphold a plastic facade rather than a reality and it becomes and act that rather a lot of people feel the need to maintain at Cambridge (where Fish lived with his girldfriend, EN). I objected especially to a guy who told me all about the troubles in Palestine when he'd never ever been there because Palestine was a very hip thing to discuss at wine and cheese parties, you know? I reacted very, very aggressively to that situation." And about the subtitle The Great Cucumber Massacre: "Two of the most common delicacies at garden parties are cucumber sandwiches and egg sandwiches. In Britain the construction of a sandwich is much simpler than here in the US - it is: slice of bread, butter, filling, butter, slice of bread. At the `best' garden parties such sandwiches will have had the crusts removed and be cut into little triangles. Many hundreds of these will be consumed hence 'The Great Cucumber Massacre' sub-title."

I own the 12" Version (and the t-shirt, it still fits after 35 years, haha!).

Side A :

Garden Party - full version (7:11) This song became a stage favourite, in fact Garden Party is more rock than prog. But Marillion their fresh new progressive rock (labelled as neo-prog) appealed to many young people and also many women, they loved the melodic and welcoming approach in the music and on stage. Here on Garden Party 'it's neo-prog party time', and no huge and clinical distance, like between the Seventies progrock dinosaurs and their audience. So enjoy the catchy beat, the cheerful synthesizer flights, the rocky guitar and, last but not least, Fish his strong and distinctive venomous vocals and sarcastic lyrics. One part of the lyrics was very popular during the concerts: 'I'm punting, I'm beagling, I'm wining, reclining, I'm rucking, I'm f xxx ing'! This final word (on PA I had to censore it) was loudly screamed by the fans, they felt one with their neo-prog messiah Fish! And the Scottish giant loved these provocative language, I presume inspired by Jim Morrison.

Charting the Single - live version, London Hammersmith Odeon 18 April 1983 (6:30).

Pleasant neo-prog featuring a very inspired Fish and a tasteful colouring by powerful guitar and varied keyboards, a typical song that comes more to live on stage, as you can hear.

Side B :

Margaret - live version, Edinburgh Playhouse, 7 April 1983 (12:17).

A homegame for Fish in this excellent live track entitled Margaret (an old van?) that starts with a Scottish folk tune, featuring Fish and Steve Rothery, then a keyboard that sounds like a Scottish bagpipe, what a great live atmosphere! The song turns into a catchy beat with powerful vocals and strong work on guitar and keyboards, fuelled by a dynamic rhythm-section. To emphasize that great live atmosphere, Fish introduces all band members who play a short solo on their instruments, there is even some Peer Gynt Suite from Grieg (the bridge between classical and neo-prog) and finally a huge crowd participation, and lots of clapping and yelling, the fans loved it!

My rating: 3,5 star