MARILLION

Review Nº 308

'A Singles Collection', also known as 'Six Of One, Half A Dozen Of The Other', is a compilation album of Marillion and was released in 1992. As happened with their compilation 'B'Sides Themselves', 'A Singles Collection' is also a very special compilation album. If 'B'Sides Themselves' was released and only based on the B sides of their singles, taken from several singles, and put for the first time on the compact disc format as a single CD like a kind of a new studio album of the band, 'A Singles Collection' is a compilation of Marillion's A sides singles from both musical periods of the group, the Fish era and the Steve Hogarth's era, celebrating the band's ten year jubilee, between 1982 and 1992.

'A Singles Collection' includes the band's six most successful singles on Fish's era and all the six singles released on Hogarth's era, until those times. The tracks aren't ordered chronologically, but are ordered in a curious and interesting way. All the odd tracks belong to songs from Hogarth's era and all the pair tracks belong to songs from Fish's era.

'A Singles Collection' includes also two bonus tracks. Those tracks contain two new recordings of Hogarth's era, 'I Will Walk On Water' and a cover version of the Rare Bird's song, 'Sympathy'.

'A Singles Collection' has fourteen tracks. The first track 'Cover My Eyes (Pain And Heaven)' is the single version of a song released on 'Holiday's in Eden'. This is a good song that obviously calls the attention grabbers for commercial success. I've nothing against melodic tracks but this song as practically nothing to do with prog, really. The second track 'Kayleigh' is the single version of a song released on 'Misplaced Childhood'. This is maybe one of the most recognizable Marillion's tunes. It's one of their most accessible tracks too. The third track 'Easter' was released on 'Seasons End'. It's one of the most charming and beautiful songs in Marillion's catalog, with its lyrics about Ireland and its recognisable guitar playing, not to mention the brilliant guitar solo on it. The fourth track 'Warm Wet Circles' is the single version of a song released on 'Clutching At Straws'. It's a very nice track opened with soft guitar fills. It has also a great tagline melody throughout the song. This is easily an accessible song. The fifth track 'Uninvited Guest' is the single version of a song released on 'Seasons End'. This is a solid track. It has a guitar fill that can refer to their earlier albums but with different composition and nuance, especially due to the adjustment with the different voice timbre of both singers. The sixth track 'Assassing' is a remixed version of a song released on 'Fugazi'. The track is energetic and uplifting. It's a very energetic song with a touch of Islamic music, with a beautiful interlude, a good bass line and a very dynamic drumming and percussion. The seventh track 'Hooks In You' is the single version of a song released on 'Seasons End'. It's basically a straightforward rock song. The final result is a strong rock/pop effort that has held up well over time. The eighth track 'Garden Party' is a remixed version of a song released on 'Script For A Jester's Tear'. The lyrics are fantastic, very satiric, and represent one of the best Fish's lyrical performances. This song reminds me the style of Gabriel. The ninth track 'No One Can' is the single version of a song released on 'Holiday's in Eden'. It's a very good ballad with atmospheric guitars and keyboards. It's true that it's not properly prog, but it still is a good song. The tenth track 'Incommunicado' is a song released on 'Clutching At Straws'. It's an upbeat rocker of a tune led by fun synthesizers and good chorus led by Fish. The eleventh track 'Dry Land' is a song released on 'Holiday's in Eden'. This is a master example of a well crafted pop/rock ballad. This is pure beauty in both, musically as in Hogarth's crystal clear vocals. The twelfth track 'Lavender' is the single version of a song released on 'Misplaced Childhood'. It features beautiful lyrics, nice vocals and great musicianship. This is a ballad track, albeit short. The thirteenth track 'I Will Walk On Water' and the fourteenth track 'Sympathy' are both bonus tracks. Both songs have long been available only on this compilation, up to the moment that it was decided to reissue 1991's 'Holidays in Eden' album. 'I Will Walk On Water' isn't properly a great track. It's a tasteless hybrid track that sounds like everything and nothing at the same time. Although, the version of 'I Will Walk On Water' is an alternative remixed version. 'Sympathy' is an excellent cover of the Rare Bird's classic and certainly doesn't disappoint people who have the original version.

Conclusion: Despite 'B'Sides Themselves' and 'A Singles Collection' are both very special compilations, they're too different in their essence. 'B'Sides Themselves' has many different versions from the original songs released on their studio albums. 'A Singles Collection' was released with the most successful singles created by Marillion until that moment in both eras. Still, 'A Singles Collection' isn't a compilation very well representative of the best musical period of the group, especially in Fish's era. So, this isn't a good addition to any progressive collection, really. It's true that it's a good compilation with some interesting musical moments of the group but it can't replace any of the band's studio albums. The positive point of it is the confrontation between the two different music eras. Due to that, I give to it 3 stars.

Prog is my Ferrari. Jem Godfrey (Frost*)

In 1997 I was still looking for La Gazza Ladra in CD when a friend told me Real to Reel (Marillion´s first live album) was release in Brazil in a double CD package that included the Brief Encounter EP. I had to buy it right away, not only because Real to Reel was a favourite of mine (I had it on vinyl for years already) but because the EP was never released in Brazil. Better still: the new remastering CD had an extra track (Emerald Lies) not included on the LP (it was a bonus track for the cassette offering at the time). It was really a treat for a me, a fan at a time when progressive CDs were very expensive and quite hard to find.

The live album is, of course, a masterpiece, and you can read my review on it here on PA, under its own banner. I still listen to it frequently. This is the kind of record that only gets better with time. The EP is, of course, the typical cash in affair from the recording company, trying to get as much money as they could in America after the success of Keyleigh, mixing live tracks and studio stuff previously released: it has two studio tunes (both singles b-sides): Lady Nina and Freaks. Good stuff, but not very representative of their main work. The live tracks however, were the real thing: one each from their previous albums: Script For A Jesters Tear (from their debut), Fugazi (from their second LP of the same name) and Kayleigh (from Misplaced Childhood). It was though as a good introduction the band to the american audience who had only known them for Keyleigh and Lavender. The live sound quality is good, although not as good as the ones which were later released on the La Gazza Ladra (The Thieving Magpie) live album. On its own Brief Encounter is hardly essential, but as an extra for Real To Reel, it is really worth it. So I got the best combination. Try to get this one too if you don´t have it yet.

Rating: 4,5 stars. Only a double live CD of the same shows as recorded at the time and place of Real to Real would make this package better. Highly recommended!

The first Marillion compilation was a reunion of their singles B sides released through the 80´s, just after Fish had left the band. Of course, the main reason to buy this LP at the time is because, most of all, it included the whole Market Square Heroes EP, which was never released in my country. The epic Grendel being a kind of "holy grail" among fans for years. And indeed I see it as a link between the Marillion sound and their influences (Genesis, of course, because of the obvious Apocalypse in 9/8 part of Supper´s Ready homage at the end of the track, but there is more). It was nice to have this 17 minute masterpiece on an album at last. For most fans the inclusion of the complete song was worth the price of the LP alone, together with the re-recordings of the title track and Three Boats Down The Candy. Those new versions are not much different form the original ones as far as I could hear.

It´s easy to understand why most of the tracks here never made the albums: either they were not up to the their standards, which is the case of the majority of them, or did not fit on the concept of the album at the time. Not surprisingly the latter ones are the best: the aforementioned Grendel, the beautiful Cinderella Search (one of their best songs ever, this mini epic unfortunately was edited on my LP and the last part was merciless butchered out. It seems they fixed it when the CD edition was released) and Tux On, a different but great rocking tune. Of the remaining stuff, Freaks, Charting The Single and Lady Nina, are not fantastic, but are saved by the bands tasteful arrangements, Fishs poetry and the general great performance of the band even at those less then spectacular moments. In fact, only Margaret (a live jam track based on a traditional scottish song) is out of place here: it would have been terrific on a live album, as a closing track, but listening to it on a compilation CD is odd, specially because at 12 minutes it is just too long and listening to it you can not help the feeling of arriving at the end of a great show having missed the best moments.

Overall this is a very good CD that closes the golden era of the band, the Fish years. It was great to have all their b sides and early EP on one album, even if at the time it was a seen as a small reward for the bad news of Fish leaving, along with the La Gazza Ladra live album.

Rating: something between 3,5 and 4 stars.

Review Nº 304

"The Best Of Marillion" is a compilation album of Marillion and was released in 1996. This is a compilation album with songs which were only taken from Marillion in Fish's era. But, one of the most interesting points of it, is that it has songs performed by their two drummers, their founder drummer Mick Pointer and their current drummer Ian Mosley.

"The Best Of Marillion" has fourteen tracks. The first track "Kayleigh" was released on "Misplaced Childhood". It was also released as the A side of Marillon's single "Kayleigh" with "Lady Nina" as the B side. It was released as a single to the US market with "Kayleigh" as the A side and "Heart Of Lothian" as the B side of it. A 12" version was also released with an extended version of "Kayleigh" as the A side and with an extended version of "Lady Nina" as the B side. This is, maybe, the most recognizable Marillion's tune. This is perhaps one of their most accessible tracks too. The second track "Market Square Heroes" was originally released on "Market Square Heroes" as the A side. It was also released as the A side of their first single. It was also released as the B side of their single "Punch And Judy". It's a pleasant song with great melody. Still, it's a bit commercial and not very progressive. It's a compelling track that shows their superior songwritting skills. The third track "Freaks" was released on their single "Lavender" as the B side. It was released on "Misplaced Childhood". It was also released as a separated single. I like this track. The non- album "Freaks" is much more than the ticket. It's really a fun Fish's romp. This is the single version. The fourth track "Garden Party" was released on "Script For A Jester's Tear". It was also released as the A side of the single "Garden Party" with "Margaret" as the B side. The lyrics are fantastic, very satiric, and represent one of the best Fish's lyrical performances. This song reminds me the style of Peter Gabriel. This is the '92 remixed version. The fifth track "Warm Wet Circles" was released on "Clutching At Straws". It was also released as a 7" single and 7" picture disc with "Warm Wet Circles" as the A side and a live version of "White Russian" as the B side. This is a nice track opened with soft guitar fills. It's easily an accessible track. This is the single version. The sixth track "Fugazi" was released on "Fugazi". This is one of their most brilliant epics. It's a fantastic track with great mood and a melody that changes all over the song. The seventh track "Heart Of Lothian" was released on "Misplaced Childhood". It was also released as the A side of their single "Heart Of Lothian" with a live version of "Chelsea Monday" as the B side. It's a catchy track. This song has cohesive keyboards and drums, catchy guitar riffs and strong bass playing with a Fish's dramatic voice. The eighth track "Assassing" was released on "Fugazi". It was also released as the A side of their single "Assassing" with "Cinderella Search" as the B side. The track is energetic and uplifting. It has a beautiful interlude with some dynamic drumming and percussion. The ninth track "Incommunicado" was released on "Clutching At Straws". It was also released as the A side of their single "Incommunicado" with "Going Under" as the B side. It's an upbeat rocker of a tune led by fun synthesizers and good chorus led by Fish. The tenth track "Lavender" was released on "Misplaced Childhood". It was also released as the A side of the single "Lavender" with "Freaks" as the B side. A 12" version was also released with "Lavender Blue" as the A side and "Freaks" and "Lavender" as the B side. It features beautiful lyrics, vocals and some great musicianship. This is a ballad track, albeit short. The eleventh track "That Time Of The Night" was released on "Clutching At Straws". It's probably one the strongest tracks on that album. It sounds fantastic when the keys come in. I like the tone of Fish's vocals as well as the guitar melodies. The twelfth track "Punch And Judy" was released on "Fugazi". It was also released as the A side of the single "Punch And Judy" with the edited re-recorded versions of "Market Square Heroes" and "Three Boats Down From The Candy" as the B side. It was also released as a 12" version with "Punch And Judy" as the A side and "Market Square Heroes" and "Three Boats Down From The Candy" as the B side. It's a great track that features everything that's great on Marillion's songs. It has catchy riffs and melodies and the typical sound of Fish. The thirteenth track "Sugar Mice" was released on "Clutching At Straws". It was also released on the single "Sugar Mice". It was the A side of the single with "Tux On" as the B side. It's a nice mellow track, very emotional but with very sad lyrics. I alwys loved it. The fourteenth track "Chelsea Monday" was released on "Script For A Jester's Tear". This is a very mellow track with a very reach musical ambience and with very deep lyrics too. This track almost makes us cry.

Conclusion: "The Best Of Marillion" is one of the best compilations made by Marillion in Fish's era. This is a very well representative compilation of the band comprising all that musical period. All their four studio albums are represented here with several songs and even their debut EP "Market Square Heroes" is also represented with the title track. The only negative point of this compilation is the non inclusion of their great epic "Grendel". So, if you are a newbie in Marillions's music in Fish's era, this is the right compilation to purchase. Still, it can never substitute the original works.

Prog is my Ferrari. Jem Godfrey (Frost*)

Hello! I'm new to Progarchives! I'm thankful for this website! This is my first review so I will do the very best I can.

First thing's first: What a band! Marillion, formed in 1979, arrived at their first official and professional lineup in 1982, a year before this beauty came out in 1983. For a debut prog album, this one made a critical statement, in my humble opinion. It really set the stage for the neo-prog subgenre along with IQ's "Tales from the Lush Attic," released also in 1983. The first thing that jumps out at me was their youthfulness and eagerness, which i really appreciate. If there is anyone out there that is a fan of early Genesis ('Nursery Cryme,' 'Foxtrot' and 'Selling England by the Pound' era), this is for you! I will say, however, Steve Rothery's guitar filled out so much space and was a little more aggressive than Steve Hackett, although both are very fine guitarists. I'm sure many have said this, but Fish's vocals are very reminiscent of Peter Gabriel's style.

Now, the album itself... Marillion were criticized for being Genesis soundalikes, but I believe they developed their own sound. Rothery's guitar shone and twinkled in songs like "Garden Party," Pete Trewavas' bass had this burst of low end that was very satisfying. It reminds me a lot of Chris Squire's sound from the early Yes era ('Fragile' and 'Close to the Edge'). Mick Pointer's drumming was interesting, and strong. And of course, Mark Kelly's virtuosity on keyboards is undeniable. Songs like "Forgotten Sons" had a very creative Scottish-esque jig after the first verse. His ability to fly across keyboards and play multiple keyboards at once is a great technique to watch, let alone listen to.

For me, "Chelsea Monday" had more of a new wave feel, which is fun, although it retained the characteristic uncertainty of musical direction that Neo-Prog can and often does have.

The title track was a great song for experimentation as well as "The Web," which I am particularly fond of. And of course the single "He Knows You Know" had a Genesis vibe, for me at least. It reminded me of "I Know What I Like (In Your Wardrobe)" for some reason. I think it was the vocal layering in the chorus.

Overall, I would give this album a 4 star rating. It is a landmark in Neo-progressive rock music, they were still polishing their sound. As far as being a debut effort, I'm very pleased and impressed!

Progressive rock is a genre mostly appriciated by intellectual teens and adults. Within the progressive genre some bands are more adult oriented than others. On the top of the pyramid of adultness there's Marillion in its present day form. I would have never approached an album like this, had I not found the 2LP version as a bargain (slightly cut front cover). I'm actually glad that I did.

Marillion is of course the original neo-progressive group. On this album the band displays some traces of those early days, but mostly sounds like an art-rock group with a focus on ethereal sound designs - not unlike some quieter post-rock groups. Before I forget, the production is top-notch. Perfect high-fi listening.

Whereas the early work of the band could be quite bold and direct, here everything is very subtle and sensitive. Almost as if written for a wellness center. Singer Steve Hogarth - like it or not - is one of the most gifted singers of the progressive genre. He's also a bit drenched in his own believe of making something deeply profound - which I would only count as a given on this album's best titles. The 'El Dorado' suite (which makes up side one of the vinyl) is such a track, with the "I'm becoming harder to live with" outburst as great dark finale.

The follow-up track 'Living in Fear' compares unfavorably, being a stretched symphonic poprock song . 'White Paper' is a stronger atmospheric piano ballad with a dramatic movie-like atmosphere, which develops into a nice melodic art-rock song. Hogarth launches a lot of political sensitivities and images on this album in an effort to ground the otherwise otherworldly music, I guess. After two sides of vinyl I keep wondering when the often praised guitarist Steve Rothery will strike, but his efforts are all intertwined with the subtlety of the collective effort. His use of the professional electric guitar pallet of sounds is however comforting to the ears. The third side of the vinyl is reserved for the 'The Leavers'; a succession of dreamy parts that has little new to introduce (again some nice atmospheric piano) and fails to reach a rewarding finale. A bit of drag actually, but quite beautiful as musical wallpaper.

On side four 'The New Kings' the band has some of its more imaginative song-writing. I imagine this to be the most rewarding 'epic' for both fans and newcomers. Together with that fine opener 'El Dorado'. Since they make up for side one and four, I can easily customize this album to my liking.

In the end I wouldn't know who to recommend this album to, other than fans of Marillion. The bands has developed its eighties influences (both progressive, symphonic and pop) into something very professional and well executed - but not per se interesting for listeners of exciting, adventurous or imaginative progrock. Hence the rating.

Review Nº 295

'Kayleigh' is a compilation of Marillion which was released in 1996. It's a compilation album with songs that were only taken from Marillion in Fish's era. But, it has songs performed by their two drummers, their founder drummer Mick Pointer and their current drummer Ian Mosley.

So, the line up on this compilation is Fish (vocals), Steve Rothery (guitars), Mark Kelly (keyboards), Pete Trewavas (basses), Mick Pointer (drums and percussion) and Ian Mosley (drums).

'Kayleigh' has nine tracks. The first track 'Grendel' was released on their debut EP 'Market Square Heroes'. It was the B side of that EP. It's an epic and complex track, one of their best and is one of their most progressive too. This composition is usually compared (mostly unfavourably), with 'Supper's Ready' of Genesis. This version is the 12' version. The second track 'He Knows You Know' was released on their debut studio album 'Script For A Jester's Tear'. It was also released as the A side of the Marillon's second single 'He Knows You Know', taken from that studio album, with 'Charting The Single' as the B side. It was also released as a 12' version of 'He Knows You Know' as the A side and the edited single of 'He Knows You Know' and 'Charting The Single' as the B side. It's a great track with powerful lyrics. The version on this compilation is the album's version. The third track 'Jigsaw' was released on their second studio album 'Fugazi'. It's a slow track, very nice. This is a sensual song with some beautiful lyrics. The version on this compilation is the album's version. The fourth track 'Punch And Judy' was released on their second studio album 'Fugazi'. It was also released as the A side of the Marillon's first single 'Punch And Judy', taken from that studio album, with the edited re-recorded versions of 'Market Square Heroes' and 'Three Boats Down From The Candy' as the B side. It was also released as a 12' version with 'Punch And Judy' as the A side and 'Market Square Heroes' and 'Three Boats Down From The Candy' as the B side. It's a wonderful track that features everything that's great on Marillion's songs. It has catchy riffs and great melodies and the typical sound of Fish's era. The version on this compilation is the album's version. The fifth track 'Cinderella Search' was released on their single 'Assassing' and it was the B side of that Marillion's single. It was released on their second studio album 'Fugazi'. It was also released as a 12' version with the full version of 'Assassing' as the A side and the full version of 'Cinderella Search' and the edited version of 'Assassing' as the B side. It's one of my preferred songs from 'Fugazzi' sessions. The version on this compilation is the edited single version. The sixth track 'Kayleigh' was released on their third studio album 'Misplaced Childhood'. It was also released as the A side of Marillon's first single 'Kayleigh' and with 'Lady Nina' as the B side. It was also released a single to US market with 'Kayleigh' as the A side and 'Heart Of Lothian' as the B side. A 12' version was also released with the alternative mix and an extended version of 'Kayleigh' as the A side with an extended version of 'Lady Nina' as the B side. This is maybe the most recognizable Marillion's tune. It's also one of their most accessible tracks. The version on this compilation is the single version. The seventh track 'Lavender' was released on their third studio album 'Misplaced Childhood'. It was also released as the A side of the Marillon's second single 'Lavender', taken from that studio album, with 'Freaks' as the B side. A 12' version was also released with 'Lavender Blue' as the A side and 'Freaks' and 'Lavender' as the B side. It features beautiful lyrics, nice vocals and great musicianship. This is a ballad track, albeit short. The version on this compilation is the single version. The eighth track 'Lady Nina' was released on their single 'Kayleigh' and it was the B side of that Marillion's single. It was released on their third studio album 'Misplaced Childhood'. It was also released as a separated single in U.S.A. It was the A side of that single. This is possibly one of the poppiest tracks of the band. The hook is huge, and even when the lyrics get flowery they still work in the context. The version on this compilation is the edited single version. The ninth track 'Torch Song' was a track originally released on their fourth studio album 'Clutching At Straws'. It's one of the slower tracks on that album. But it still is a great prog rock song. The version on this compilation is the album's version.

Conclusion: Marillion released several compilations from Fish's era. They released 'B Sides Themselves', 'A Singles Collection ' Six Of One, Half A Dozen Of The Other', 'Marillion Music Collection', 'Kayleigh', 'The Best Of Marillion' and 'The Singles '82-88'. Of all those compilations 'Kayleigh' isn't definitely one of their best. Probably 'The Best Of Marillion' is the best and the most complete compilation of all. So, 'Kayleigh' despite has some great progressive music, isn't the best place to have the first contact with Marillion's music in Fish's era. It doesn't bring anything new. It's very similar to other compilations released before. Still, a compilation, as good as it may be, can never replace the originals. I advice all the newbies on Marillion to buy all the studio albums in Fish's era, because all must be purchased.

Prog is my Ferrari. Jem Godfrey (Frost*)

Review Nº 280

"B Sides Themselves" is a compilation of Marillion and was released in 1988. This is a very special compilation of the band. It comprises B sides' tracks taken from several singles released by Marillion. It represents the first time that all those B sides' tracks were made available on the compact disc format, put all together on only one single CD.

The musicians that participated on this compilation are Fish (vocals), Steve Rothery (guitars), Mark Kelly (keyboards), Pete Trewavas (bass), Mick Pointer (drums), John Marter (drums) and Ian Mosley (drums). The presence of three drummers was due to changes inside the band. Pointer only participated on their debut studio album "Script For A Jester's Tear". He left Marillion to found Arena and he is, till now, Arena's current drummer. John Marter was one of the transition drummers who passed through the band in 1983, between Pointer and Mosley. He participated only on a few Marillion's songs. Mosley entered to the band in 1984 to replace Pointer he still is member of Marillion in these days.

"B'Sides Themselves" has nine tracks. The first track "Grendel" was originally released on their debut EP "Market Square Heroes", in 1982, and it was the B side of that EP. It's an epic and complex track, one of the best tracks of the band and is one of their most progressive too. This composition is usually compared (mostly unfavourably), with "Supper's Ready" of Genesis. The second track "Charting The Single" was released on their single "He Knows You Know", in 1983, and it was the B side of Marillion's second single. It was released from their debut studio album "Script For A Jester's Tear". As the B side of the single, it isn't really a great track. Still, it remains a redundant piece that testimony the great beginning of this great neo-prog band. The third track "Market Square Heroes" was originally released on their debut EP "Market Square Heroes". It was the first song of the A side. It was also originally released as the A side of their debut single with the same name, released in 1982 too. It was also released as the first song of the B side of their single "Punch And Judy", in 1984. This is the version on this compilation. It's a pleasant song with a great melody. Despite is a bit commercial and be not a very progressive track, it's a compelling track that shows their superior songwritting skills. The fourth track "Three Boats Down From The Candy" was originally released on their debut EP "Market Square Heroes". It was the second song of the A side. It was also originally released as the B side of their debut single with the same name. It was released as the second song of the B side of their single "Punch And Judy", in 1984 too. On this compilation we have an alternative version. This is an intricate song, where all band's members display their technical skills. The fifth track "Cinderella Search" was released on their single "Assassing", in 1984 and it was the B side of that Marillion's single. It was released from their second studio album "Fugazi". It remains as one of my preferred songs from the "Fugazzi" sessions, though not featured on the original album. The sixth track "Lady Nina" was released on their single "Kayleigh", in 1985 and it was the B side of that Marillion's single, which was released from their third studio album "Misplaced Childhood". It was also released as a separated single in U.S.A., in 1986, and it was the A side of that single. Possibly one of the the poppiest tracks the band got, which means the hook is huge, and even when the lyrics get flowery they still work in the context. The seventh track "Freaks" was released on their single "Lavender", in 1985 and it was the B side of that Marillion's single. It was released on their third studio album "Misplaced Childhood". It was also released as a separated single in 1988. I like this track. The non-album "Freaks" is much more than the ticket. This is really a fun Fish's romp. The eighth track "Tux On" was released on their single "Sugar Mice", in 1987 and it was the B side of that Marillion's single. It was released from their fourth studio album "Clutching At Straws". This is a very dark toned song, in the same vein of "Clutching At Straws", which count it among one of the finest non-album tracks of Marillion. The ninth track "Margaret" is a live version of a song recorded on Edinburgh Playhouse and was released as the B side of their single "Garden Party", in 1983. It was released from their debut studio album "Script For A Jester's Tear". This is a good track and represents of how dynamic the band live performance was in Fish's era. It's a track that would have been out of place on the album, but it still has its own charm.

Conclusion: Before the re-released Marillion's entire discography in the 90's, "B Sides Themselves" was a great source for fans of the band, especially for the fans of Fish's era, to pursued so many rarities on only one release. Here we have a selection of many great songs on only one album, which were never released on any studio album of the band. We can say this compilation is a great addition to band's music in Fish's era. So, "B Sides Themselves" is, in my humble opinion, a good compilation from Marillion. The sound quality of some songs is good and of others is only reasonable. But, in general, its sound quality is acceptable. So, "B Sides Themselves" is a nice worthy purchase and is, without any doubt, highly recommended for all who want to have a good and complete progressive rock discography.

Prog is my Ferrari. Jem Godfrey (Frost*)

Review Nº 264

"The Originals" is a very special compilation of Marillion and was released in 1995. This is a package that includes their three first studio albums, "Script For A Jester's Tear", released in 1983, "Fugazi", released in 1984, and "Misplaced Childhood", released in 1987. This is a very good and interesting compilation from the band because it includes practically all the studio albums from Fish era, with the exception of "Clutching At Straws", released in 1989.

"Script For A Jester's Tear", "Fugazi" and "Misplaced Childhood" are three fundamental albums of Marillion because they represent the beginning of the band and the neo-prog sub-genre. They are probably, the three best representatives of their music in Fish's era, and for many, like me, "Script For A Jester's Tear" and "Misplaced Childhood" are the two greatest masterpieces from the band. So, we are in presence of three great progressive rock albums from the 80's.

As I've already reviewed these three albums previously on Progarchives, in a more extensive way, I'm not going to do it again. So, if you are interested to know, in more detail, what I wrote about them before, I invite you to read those my three reviews. However, in here I'm going to write something about them in a more short way. So, of course, I'm not going to analyze them track by track, as I did before, but I'm only going to make a global appreciation of the albums.

"Script For A Jester's Tear": "Script For A Jester's Tear" was released after their fantastic EP "Market Square Heroes". It's commonly accepted that it's with "Misplaced Childhood" the two best studio albums released by the group in the music era of Fish. In a certain way it was as important as "In The Court Of The Crimson King" of King Crimson was for the progressive rock music in the 70's. It's true that in the summer of 1982 the punk explosion was gone but remained some echoes, a parade of a new romantic musical movement. So, when the music world seemed to be at the mercy of the new romantics, "Script For A Jester's Tear" represents a landmark and a breath of fresh air that progressive rock music, so needed at the time. We can even say that since "Script For A Jester's Tear" the world of progressive rock has raised again and no longer was the same. Somehow, it opened the doors to the boom of the progressive roc in the 90's.

"Fugazi": In relation to "Script For A Jester's Tear", "Fugazi" shows some musical differences. Marillion streamlined the intricacies of group's progressive rock leanings for a more straight ahead rock identity. Still, it remains clearly a Marillion's album. We even can say that, in a certain way, "Fugazi" remarks Marillion's consistency on their musical direction solidifying the group. Perhaps "Fugazi" is the weakest album of Marillion in Fish's era. But saying this, it seems like a sacrilege. Marillion has no weak albums in Fish's era. So, "Fugazi" is still a great piece of music. It's true that "Fugazi" has two tracks with musical quality below from the others, "Emerald Lies" and "She Chameleon". So, for that motif, "Fugazi" can't be considered a masterpiece, as happened with their preceding album "Script For A Jester's Tear" and their following album "Misplaced Childhood". But, "Fugazi" remains, for me and without any doubt, a great piece of music. "Fugazi" is an excellent album that can be recommended to all progressive rock fans, just simply if you don't compare it, too much, with the previous one, because there's music here for every progressive rock fan to love.

"Misplaced Childhood": "Misplaced Childhood" is a conceptual album, the first conceptual album released by the group. With its lush production and mix, this album became the greatest commercial triumph of the band, especially in Europe where the group raised the peak of their fame and became known as one of the most famous progressive rock bands in the world. The album featured also the most successful single of the group, "Kayleigh". "Lavender" was another song that was also released as a single and it was also a great commercial success. Besides, it's their most commercially successful album. "Misplaced Childhood" is, for many, their best studio album, either. Even Mike Portnoy considered it the best Marillion's album of all time. With "Misplaced Childhood", Marillion proved they weren't a clone of Genesis and with it they reached the status of be considered one of the best progressive rock bands in the world.

Conclusion: If you have already these three studio albums you don't need to buy this compilation. Despite the box comes in a special miniature double album's sleeve, it hasn't practically anything new to offer, like bonus tracks. However, if you don't have these three albums yet, this is an excellent alternative for buying these albums. By the other hand, if you are a hard fan of the group, this is a rarity and certainly it would be a truly delight for you as a complement of your progressive rock collection. But if you don't have these albums already, it's urgent to buy all the three. These three albums represent some of the best progressive rock pages written in the 80's. When the times were against the progressive rock music bands, which would later be called neo-prog bands such as Marillion, IQ and Pendragon, it was very importants for the spirit of prog. So, these three albums made part of some of the best prog, made in those times.

Prog is my Ferrari. Jem Godfrey (Frost*)

Review Nº 262

"Clutching At Straws" is the fourth studio album of Marillion and was released in 1987. Like their previous third studio album "Misplaced Childhood", "Clutching At Straws" is a conceptual album and the last studio album with the participation of their former member and front man Derek Dick "Fish", who left the band in 1988 to pursue a solo career.

Written and conceived during a period of time of inner great turmoil on the group, "Clutching At Straws" would prove to be Fish's swan song album, and perhaps Marillion's most unknown and underrated studio work of all four studio works of Fish's era. Still, commercially it wasn't quite as successful as its predecessor "Misplaced Childhood", but "Clutching At Straws" reached the album chart and it's also considered amongst the best musical studio works of Marillion's Fish era, by many fans and critics. It's also very well rated on Progarchives, and it's also to Fish himself ated, on several interviews, that this was the best album that he made with the band. I think it was his most personal work with Marillion.

"Clutching At Straws" is another conceptual album. The character of the story is a man with 29 years old, unemployed, whose life is a complete void. He seeks of comfort especially in alcohol to numb himself. He is trying but failing. He has a failed marriage, he is being a deadbeat father and professionally he feels his lack of commercial success as a vocalist on a group. So, he will be drunk and he writes about his own fails and laments. As he can't find no other real solutions, he ends up in bars, hotel rooms, and on the road, whining and drinking without redemption and a real future hope.

"Clutching At Straws" is very different, on lyrics and music, from its predecessor's albums. It's darker and, in a certain way, it's a kind of a Fish autobiographical album, exploring the excess of alcoholism and life on the road, representing the strains of constant touring that would result in the departure of Fish from the group to pursue his solo career.

The line up on the album is Derek Dick "Fish" (vocals), Steve Rothery (guitars), Mark Kelly (keyboards), Pete Trewavas (bass) and Ian Mosley (drums). The album has also the participation on vocals of Tessa Niles, Chris Kimsey and John Cavanaugh.

"Clutching At Straws" has eleven tracks. Because this is a conceptual album, the music moves and flows continuously. Despite the clear differences, the music here is very similar to the first three Marillion's albums, even though the mood is much darker and melancholic and the sound is slightly more mature. This means that you should expect a much dark neo-prog album with beautiful vocal melodies, poignant lyrics, and some melodic instrumentation. The keyboards on "Clutching At Straws" are much more atmospheric than on the first three albums, even further proving Mark Kelly's keyboard prowess. Many of the solos made on this album are from Steve Rothery. Personally, I adore his melodic playing style and, even though he isn't the most technical guy out there. Still, his picking has more feeling and emotion than almost anyone. "Clutching At Straws" also features some of the best bass lines that Pete Trewavas would ever perform, not to forget about the spot-on drumming from Ian Mosley. The musicianship all over the album is very professional overall, and this is yet another reason to love this album. However, the greatest assets of this entire album lie in the strength and sheer emotional power of the compositions. When I say that this album has some of the most beautiful music ever written, that is no overstatement. Songs like "Sugar Mice", "Warm Wet Circles", "Going Under", and "The Last Straw" are all great emotional masterpieces. There are also some more upbeat tunes like "Just For The Record" and "Incommunicado", both of which are also masterpieces. Every song on "Clutching At Straws" is of high quality. I don't hesitate in saying that this album contains some of the greatest lyrics ever written. Add in some of Fish's most inspired and emotional vocal performances, and you have another aspect where "Clutching At Straws" is superb.

Conclusion: "Clutching At Straws" is an excellent album. Some consider it a more mature work than the other three previous studio albums. They say the lyrics and compositions are more emotional and dramatic as ever, on Fish's era, and that they had found finally their musical identity and balance, and this album is the last definitive break with Genesis musical influence. Sincerely, I think there is some truth in these things. Still, I personally think that "Clutching At Straws" isn't, in a certain way, a Marillion's album, but a solo musical effort of Fish. Lyrically, the character was inspired by Fish's life experiences, and it has everything to do with his personal life in those times, with his problems of the excess of alcohol and the abuse of drugs. Musically, it's also much close to the music that Fish would make on his solo albums. Anyway, and despite "Clutching At Straws" be a great studio album, it isn't as good as "Script For A Jester's Tear" or "Misplaced Childhood" are. Still, it still remains, for me, an excellent addition to any prog musical collection and represents the last contribution of a great artist on a great band, too. Fish left the band by the front door.

Prog is my Ferrari. Jem Godfrey (Frost*)