MARILLION

There is an argument to be made whether or not this collection should even exist. Not to say that I feel it shouldn't but comparing both discs (hence both era's) is unavoidable.

I view both iterations of Marillion as I do Van Halen. There are enough elements in place that allowed the respective bands to retain their commercial appeal and technical reputation, not to mention their fan base. But make no mistake about it, they are two different bands. Ironically both bands have compilations with the same name. Because I view Marillion as two different bands, I found it difficult to review Best of Both Worlds as a whole. This set would have worked very well as two compilations released individually. I enjoyed the fish fronted disc 1 Immensely. Each track seems to meld seamlessly with the other. If I was not a Marillion fan and I was listening to this disc for the first time, I would be easily convinced that this was an original album and not a compilation. It's a fun set of tracks that spotlight the unique sound of Marillion's technical prowess and the storytelling talents of Fish.

Disc 2 was a different experience for me. I did enjoy the selection of tracks. Many of the songs are tracks that I enjoyed off their original albums that arguably are the best of the Hogarth era. There are others that I wish were included here, but any fan has their own preferences of course. The difference with the Hogarth era is that I find that Marillion mark 2 crafted a sound that feels more emotional. The track Afraid of Sunlight is an example of a song that has always had a profound emotional impact on me. I am glad it is included in this collection. While many songs during the fish era were fun and generally an easier listen relatively speaking, the Hogarth era was contemplative and on many occasions quite dark. This is not a knock-on Hogarth at all. it just illustrates the profound differences in both versions of this band and why a two-disc set compiled of two different bands can feel uneven. And unfortunately, it does . In spite of that, I have to recommend this set because it generally has great songs from both eras. Just remember you are buying two different albums at the same time. From that perspective, It's quite an enjoyable listen.

Review Nº 451

"Early Stages: The Official Bootlegs 1982-1987" is a box set containing six separated live albums of Marillion and was released in 2008. It contains five different live concerts from the band with their former vocalist Fish and it was recorded at several venues in the UK between 1982 and 1987. The packaging was designed, as usual, by Mark Wilkinson, who designed all Marillion's covers in the 80's. He went to work with Fish as a solo artist after his departure from the band.

The set contains the following concerts and the following tracks: CD 1: Live at the Mayfair, Glasgow, 13th September 1982. Tracks: "Garden Party", "The Web", "He Knows You Know", "She Chameleon", "Three Boats Down From The Candy", "Market Square Heroes" and "Forgotten Sons". CD 2: Live at the Marquee Club, London, Part 1, 30th December 1982. Tracks: "Garden Party", "Three Boats Down From The Candy", "Grendel" and "Chelsea Monday". CD 3: Live at the Marquee Club, London, Part 2, 30th December 1982. Tracks: "He Knows You Know", "The Web", "Script For A Jester's Tear", "Forgotten Sons", "Market Square Heroes" and "Margaret". CD 4: Live at the Reading Festival, 27th August 1983. Tracks: "Grendel", "Garden Party", "Script For A Jester's Tear", "Assassing", "Charting The Single", "Forgotten Sons", "He Knows You Know" and "Market Square Heroes". CD 5: Live at Hammersmith Odeon, London, 14th December 1984. Tracks: "Assassing", "Garden Party", "Cinderella Search", "Punch And Judy", "Jigsaw", "Chelsea Monday", "The Pseudo-Silk Kimono", "Kayleigh", "Bitter Suite", "Heart Of Lothian", "Incubus" and "Fugazi". CD 6: Live at Wembley Arena, London, 5th November 1987. Tracks: "Slainte Mhath", "White Russian", "Incubus", "Sugar Mice", "Fugazi", "Hotel Hobbies", "Warm Wet Circles", "That Time Of The Night", "The Last Straw", "Kayleigh", "Lavender", "Bitter Suite" and "Heart Of Lothian".

The original studio tracks were originally released in different forms: "Grendel", "Three Boats Down From The Candy" and "Market Square Heroes" were originally recorded on their debut EP "Market Square Heroes", in 1982. "Margaret" was originally recorded as the B side of their single "Garden Party", in 1983. "Charting The Single" was originally recorded as the B side of their single "He Knows You Know", in 1983. "Cinderella Search" was originally recorded as the B side of their single "Assassing", in 1984. "Garden Party", "The Web", "He Knows You Know", "Forgotten Sons", "Chelsea Monday" and "Script For A Jester's Tear" were originally recorded on their debut studio album "Script For A Jester's Tear", in 1983. "She Chameleon", "Assassing", "Punch And Judy", "Jigsaw", "Incubus" and "Fugazi" were originally recorded on their second studio album "Fugazi", in 1984. "Pseudo-Silk Kimono", "Kayleigh", "Bitter Suite", "Heart Of Lothian" and "Lavender" were originally recorded on their third studio album "Misplaced Childhood", in 1985. "Slainte Mhath", "White Russian", "Sugar Mice", "Hotel Hobbies", "Warm Wet Circles", "That Time Of The Night" and "The Last Straw" were originally recorded on their fourth studio album "Clutching At Straws", in 1987.

While Fish was in the band he had recorded four extraordinary albums and each of them is presented in some fashion across these vintage concerts that were done for the BBC. It's a very healthy release with a lot to absorb even for the most hard core of Marillion's fans. There's a sixteen page booklet included and there are no real photos to speak of but instead all small type commentary that addresses each of the CD's or shows individually. It's packaged in a deluxe box with art by long time Marillion artist Mark Williamson and each CD comes in a sleeve that presents different artwork and lists the tracks on the back. This is a rather pricey item, really. But believe me, this well worth the investment indeed.

Conclusion: "Early Stages: The Official Bootlegs 1982-1987" is an excellent box-set with great live performances from Marillion. It's an indispensable set of live shows from the band for all Marillion's fans, especially for Marillion's fans that particularly love the band in Fish's era, like me. However, it represents slightly differences between all the live concerts. CD 1 represents an historical document. It's probably the earliest live document from the band with such quality. The sound is good but the performance isn't absolutely perfect, probably because the band was nervous and shy. On CD 2 and CD 3 the sound is also good and shows a band more confident and energetic. However, I think Fish interrupts too often and for too long between the songs when he explains the context in which every song was written. I think it cuts a bit the rhythm that a live show must have. Relatively to CD's 4, 5 and 6, they're simply amazing. The sound is perfect and all the three live shows are astonishing. They're at the same quality level of some other great live performances from the band like "Recital Of The Script" and "Live From Loreley". So, the rating I can give to this-box set is 5 stars.

Prog is my Ferrari. Jem Godfrey (Frost*)

I will put it this way: This album is a masterpiece. This is arguably the best Marillion album. This is a towering achievement of modern progressive rock music. This is a memorable and emotional journey that will get under your skin and will stay there forever. This is, of course, the majestic 2016 release named 'F E A R (Fuck Everyone and Run)' by Marillion, and happens to be their 16th studio album - maybe their most political album overall so far, but also maybe their most deeply touching one, maybe their most instrumentally powerful work, absolutely genre-less, maybe their most divine and otherworldly work.

This is the record that follows up another very excellent modern Marillion album, 'Sounds That Can't Be Made' from 2012, and while similarities may be drawn between the two, 'F E A R' is definitely an entity of its own, with the stark political and personal topics Steve Hogarth sings about, the vivid portrayal of the characters and the scenes, aided strongly by his intelligent selection of words, and to top it all, there is the scenery, brilliant and ethereal instrumentation that the five members of the band have constructed. Probably a shocking title for such an elegant-sounding band, 'Fuck Everyone and Run', as sung on 'The New Kings', is adopted "...not in anger or with any intention to shock. It is adopted and sung tenderly, in sadness and resignation inspired by an England, and a world, which increasingly functions on an "Every man for himself" philosophy.", as told by h himself.

Sometimes dark, sometimes uplifting, sometimes very dystopian and hopeless, and sometimes inspiring and futuristics, this album is comprised of just six songs, three of which ate multi-part epics depicting h's disappointment and willingness to see something change with the world we live in. Separated by the shorter and beautiful songs 'Living in F E A R' and 'White Paper', the epics shine through as some of the strongest progressive rock music to have ever come out of England, flowing gently into one another, the album makes perfect sense as a whole, with the recurring characters and topics.

Abandon your dreams of gold! And listen to 'F E A R' instead! This album is as impressive and important as things like 'In the Court of the Crimson King', 'The Dark Side of the Moon', and 'Close to the Edge', it is just released in a different time... And what a time!

This is Marillion's masterpiece. They were good before, but this transcends and becomes an all time classic. A concept album based on Fish's own life at the time, disillusionment with the band and the society he found himself in, he writes himself as a musician named Torch spending time alone at hotel bars with his thoughts and his inner turmoil and journey. The rest of the band are with him, crafting each song as an individual chapter in the story with it's own ideas and world. So brilliant.

Hotel Hobbies: Brilliant opener, setting a moody tone and incredibly evocative lyrics capturing the premise, Torch alone in a bar with his thoughts, with the music kicking into high gear as his thoughts turn dark, with a brilliant guitar solo. Slows down at the end leading to...

Warm Wet Circles: Torch wanders through a scene of colorful characters, romancers, dreamers, and the lyrics are stunningly written to paint a vivid picture of the scene. Beautiful melody and shifts to minor from major, rocking harder, and just a perfectly self-contained song that is part of the bigger picture.

That Time of the Night: beautiful atmospheric guitar playing with a lyrical overture of sorts as the keyboards and drums slide along underneath, the bass urgently pounding. Then the keyboard melody begins, nicely capturing the feeling of a certain time of the night... when streetlights through crosses through window frames, etc. More beautiful lyrics from Fish. The chorus loudly proclaims Torch's feelings, that he hates where he's at, and wants to get away. He pleads with the listener to come with him, find a way out, leading to a brief reprise of the pounding Warm Wet Circles theme.

Going Under: not included on the original LP, I think this piece is essential to the overall work Marillion have made here. Having raged against his circumstances in the previous song, Torch takes a moment to reflect on himself, making sure he hasn't lost himself completely. It's short, lovely and well placed in the story. Great soaring guitar work to complement the lyrics.

Just for the Record: shift to a very upbeat in a nice fun time signature, the keyboard and guitar work is excellent here, interplaying with one another, weaving in and out effortlessly. The lyrics deal with Torch asserting he's going to stop drinking and change his life, with a perfectly written note of doubt at the end. "Just for the record, I could stop any day"... with the implication being, not yet. The keyboard interlude is very Genesis, but forgivable on a record so perfectly original and written.

White Russian: the clear and powerful centerpiece of the album, coming appropriately at the center. Stemming from Fish's disgust for a rising Neo-Nazi movement in Europe and all they represented, the fury and anger couldn't be more evident in his performance and lyrics, with a pounding beat and sinister melody to drive the point all the way home. Ends on a quiet note, of despair perhaps, as Torch gives in to the idea that he can do nothing to stop the things driving him to drink. All time brilliant prog song.

Incommunicado: very upbeat charging song as Torch escapes from the things he hates. The target now is celebrity musicianhood, and all the problems that come with that, as he kisses it all off and says he's going incommunicado. More excellent, top notch guitar and keyboard interplay here. Fish's vocal performance here is aggressive and exuberant at the same time. Really, all the musicians have reached their absolute peak with this album in every possible way.

Torch Song: a much slower, more thoughtful song as Torch again stops to collect his thoughts, drinking and wallowing more. As much as this album sounds depressing when describing it, it's really quite invigorating. Makes you want to burn with as much passion as Fish/Torch does, to care how he cares. Spoken word from a doctor tells us Torch is literally drinking himself to death, and Torch himself finds this romantic.

Slainte Mhathe: a bright piano melody leads us into this song, a cryptic song that seems to be about trying to write, trying to create, and the thought process that that entails. More evocative imagery, but it's not immediately clear what happens in this song.

Sugar Mice: An absolutely lovely penultimate song. Torch is still lost, trying to figure out a direction, how to reorient himself. The chorus shows he has all but given up on the anger that once drove him. It doesn't matter who you blame, we're all just "sugar mice in the rain", only going to last so long. A gorgeous, soaring guitar solo from Rothery leads to Torch settling the blame for all this on himself after all, and seems to come to be at peace with it.

The Last Straw/Happy Ending?: the closing song, a power ballad of sorts. Tying all the themes together, Torch essentially sums up what he's learned, in extremely florid language of course: life is meaningless, humanity is inherent cynical and amoral, and nothing we do matters. Again, pitch black stuff here, but the delivery gives it something special.

If this is not an essential masterpiece of prog, I don't know what is.

I go back and forth on this one. On the one hand, Marillion is full of great musicians and they play with great gusto. On the other, something about this album seems like it's been stitched together from lots of random ideas. I read recently Fish came up with the idea while on a 10 hour acid trip... which makes sense. It's technically a concept album, but it's also sort of a mess. I'm going to go song by song to try and sort out where the issue lies.

Pseudo Silk Kimono: good stage setting overture of sorts, minor key synth melodies, very pretty. Lyrics describing someone hiding within themselves, good imagery and mystery

Kayleigh/Lavender: Very catchy rock melodies and great solos, and the lyrics have shifted to describing a young romance that failed. All strong, good stuff.

Bitter Suite: This is where it always starts to fall apart for me. Atmospheric noodling is not really what Marillion is good at, so it's inclusion is fine, if puzzling. Then we get the music kicking in, spoken word lyrics VERY much seeming to be written on acid, then shifting to a sung portion about, something? Then a reprise of the lavender melody with more wonderful imagery that just... seems randomly chosen rather than purposefully fitting a theme. Look, the music and the instruments are all good, singing good, it's just like, all put together at random.

Heart of Lothian: melody starts to pick up and kicks in for another upbeat rock song... but again, if this is all supposed to be a concept, none of the lyrical themes feel of a piece with one another. The Lamb Lies down is surreal and random but there was a narrative that held it together. As a CONCEPT album, this one is failing.

Waterhole: Side 2 kicks off with another minor key melody, sort of linking to Heart of Lothian, Fish doing his sort of "arch" vocal tic that brings a sinister edge.

Lords of the Backstage: More upbeat rock with good musicianship and great imagery, serving nothing. It's great to listen to, but it also makes it all sort of feel like it runs together.

Blind Curve: Another long piece made up of a couple disconnected pieces. Good guitar solo from Rothery, strong work from all involved, but still seeming indistinct from the rest.

Childhood's End?: Nice guitar riffs chiming to start, upbeat rocking, with lyrics trying to tie it all together. Pretty good.

White Feather: Pretty much continues from the last song, uplifting ending.

Perhaps this gets highly rated due to it's influence, but that shouldn't change the rating in my opinion. An influential album must also stand as excellent in it's own right, this one is good but not great. In my opinion, Clutching at Straws is the true Marillion masterpiece, achieving what they tried to here on every level.

3.5 stars, really. It took me a long time to get into Neo-Prog and this album in particular, which definitely has it charms, but isn't quite all it's cracked up to be IMO. Marillion are often compared to Genesis in their sound, and it's that comparison that keeps this rating from being higher: they lift LIBERALLY from Genesis here, in a way they wouldn't on later albums. Genesis is of course a great band to lift from, but when your 17 minute Epic Grendel (bonus track only) contains an almost identical pounding climactic section to the iconic Supper's Ready... it's hard to ignore. Other lifts include the chiming acoustic guitars from Stagnation/Dancing with the Moonlight Knight/Cinema Show/Entangled, the pounding beat from The Knife, and Gabriel's lyrical/performance style.

Lifting aside, this is a very confident and self-assured debut album that shows serious talent and musicianship. The songs are all well composed and paced, with no one band member outshining any others. Pete Trewavas does a good job of emulating classic prog bassists withOUT overt copying. Mark Kelly's keyboards are tasteful and well played. Lots of good guitar work from Steve Rothery. My personal favorite from the album is the Garden Party. Better things would be to come...

This is (Marillion in) the 21st century: poppy and modern, without losing sight of sophistication and depth. Anoraknophobia continues the musical discourse the band had started on the previous couple of records, where Marillion had almost completely abandoned the neoprog sound of their origins, in favour of a more compact and accessible alternative pop/rock with progressive leanings. Anoraknophobia pushes further in this direction, with the band experimenting with drum loops and sound effects within eight songs that, despite their average length of about 8 minutes, rely on pretty simple and standard structures and never venture too far into progressive wizardry.

Although prog aficionados (particularly those nostalgic of the Fish-era's Marillion) may not find much to enthuse over this record, Anoraknophobia is an enjoyable album that flows away easily and pleasantly throughout its 64 minutes. The songs contain plenty of melodic hooks, majestically delivered by an inspired Steve Hogarth, while the rest of the band build elaborate atmospheric soundscapes, where Mark Kelly's keyboards and Steve Rothery's ever so tasteful guitar licks are particularly noteworthy. In a few places, Marillion appear eager to experiment with modern sounds, like in the semi-rapped mid-section of "Quartz", in the sampled extravaganza of the rockier "Separated Out", or in "This Is the 21st Century", which is built around an insistent electronic drum loop that relegates drummer Ian Mosley to the background for most of the song. But, for the most part, the band stick to the type of lush, expansive melodic pop-rock that has often characterized the Hogarth-era's Marillion.

In a few places, the album reaches high quality levels. "When I Meet God" is a beautiful, dark and emotional ballad characterized by a sublime verse and a poignant chorus. "This Is the 21st Century" is another high point, also in terms of lyrics as Hogarth muses about the loss of mystery in a modernized, technological world. "If My Heart Were a Ball?" closes the album is style with a monumental crescendo that perhaps arrives a tad too late, as I wish the track were a couple of minutes shorter. The other tracks are pleasant, but do not reach the level of these three songs. And, in truth, there are a couple of songs that I tend to skip when I put on this album, like the poppy "Map of the World", which is plagued by a rather insipid chorus melody, or the long and repetitive "The Fruit of the Wild Rose", which builds and builds without ever reaching a satisfying climax.

Overall, Anoraknophobia does not reach the quality levels of other Marillion's masterpiece albums, like the follow-up releases Marbles, but it is certainly better than some of the band's weaker efforts, like the predecessor "Marillion.com". "When I Meet God" and "This Is the 21st Century" are classic Marillion tracks that are highlights of the band's discography, and the album is worth a spin only for those tracks alone. The rest flows away somewhat inconspicuously, but pleasantly enough to keep the listener interested and entertained for the most part.

If it were up to me every Marillion album would be judged a masterpiece. Instead it is not like that. There really is nothing more disturbing than believing this to be real. I still have a certain clarity that allows me to understand that there are situations that I cannot find positive. But, subsequently, do I see, perhaps, a negative or klucrative logic in compilations like this one? "A Singles Collection - Six of One, Half a Dozen of the Other" should it be read as EMI's attempt to create the definitive Marillion album or an attempt to steal money from those looking for the never-released LP version of some good song? On the internet I read a nice description of some compilations. And that is the definition of "bastard compilations". They are those compilations with live, rare or remixed versions that force you to buy that compilation. I don't criticize that this means easy money for a record company but, in the end, what do they make of it? Oh ... Fascinating dilemma, actually and honestly. Musically I do not argue... But I remain, however, to think about what a compilation of this kind means. Single versions... Studio versions... Remixed versions... The only good thing is listening while you drive and want to stay relaxed. And so I wonder more and more if I'm reviewing the definitive marillion album (at that point in their history) or something useless (or something like that). In retrospect, I can't understand it. It is certain, however, that there is always good music to make everything enjoyable.

Marillion released this 2LP of live versions (without an audience) of some of their finest post-Fish material with additional orchestrations in 2019. It seems it went under the radar here on the archives. The band has released a concert with the same type of orchestrations and additional musicians in 2018 "Live at The Albert Hall'. 'With Friends from the Orchestra' shows the band playing a supplementary tracklist that has epics like 'This Strange Engine', 'The Sky Above The Rain', 'Seasons End' and 'Ocean Cloud'. The set has little emphasis on the rockin' side of the band, though in the second halve of the album the guitars of Steve Rothery become more outspoken. The singing of Steve Hogarth is impeccable, his voice is always full of expression and tonal quality. Unlike other rock with symphony albums the arrangements differ little form the original album versions. Throughout the record the band casts its unique adult melancholy haze and one might argue that a more varied emotional pallet would've made the record more engaging. Yet this is what Marillion does best, so there's that. To me it sounds beautiful, very professional and very well produced. The quality of the double vinyl is very good. For me personally this is a keeper, but I doubt that I will buy another record of Marillion (already own F.E.A.R.) of this era. Furthermore, I would like to point out that my favorite Steve Hogarth record remains 'Colours Not Found in Nature' with Isildurs Bane.

Review Nº 416

"Warm Wet Circles" is a compilation of Marillion and was released in 2003. This is a compilation that comprises tracks from three of their studio albums released in Marillion Fish's era. So, we have tracks from "Script For A Jester's Tear", "Misplaced Childhod" and "Clutching At Straws". So, it only has no tracks from "Fugazi". But apart the tracks from those albums, it has also two non-album's tracks, "Lady Nina" and "Freaks" from the time of "Misplaced Childhood".

"Warm Wet Circles" has fourteen tracks. The first track "Garden Party" is from "Script For A Jester's Tear". It was also released as the A side of their 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 in Genesis. The second track "Blind Curve" including "Vocal Under A Bloodlight", "Passing Strangers", "Mylo", "Perimeter Walk", and "Threshold" is from "Misplaced Childhood". It's a wonderful track with a very stunning, well structured and a nice melody musical composition. Rothery takes over with one of his best guitar solos. The third track "Incommunicado" is from "Clutching At Straws". It was also released as the A side of the 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 fourth track "Lords Of The Backstage" is from "Misplaced Childhood". It's a high paced rock and festive song. This song deals about the poor combination of love and life on the road. It's another catchy short song of that album. The fifth track "Sugar Mice" is from "Clutching At Straws". It was also a song released on their second single "Sugar Mice", released in 1987. It was the A side of that Marillion's single and the B side was "Tux On". It's a nice mellow track, very emotional but with very sad lyrics. I always loved it. The sixth track "Torch Song" is from "Clutching At Straws". It's one of the slower tracks on that album. It's another romantic ballad which shows how Fish has developed very good manners performing this kind of songs. But, it still is a great prog rock song. The seventh track "Childhood's End" is from "Misplaced Childhood". It's a sweet song. Trewavas playing is superb, keyboards also make an important part for the song and the strumming playing of Rothery's guitar would become his trademark for years. The eighth track "Just For The Record" is from "Clutching At Straws". This is a keyboard based song with an upbeat tempo and a high energy. It starts with a piano/keyboard solo, followed by energetic drumming and vocals that enters at the same time. The music and the vocal line flow nicely with the great keyboard interlude. The ninth track "Lady Nina" was released on their single "Kayleigh" and it was the B side of that Marillion's single. It was released from their third studio album "Misplaced Childhood", but it doesn't appear on that original album. This is one of the poppiest tracks of the band. But, it still works pretty well in the context. The tenth track "White Feather" is from "Misplaced Childhood". It's really a very energetic and dynamic song. Two minutes of instrumental neo-prog to wind down a lovely work of art. It's a great song to close that album. The eleventh track "Warm Wet Circles" is from "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 an easily accessible track. The twelfth track "Kayleigh" is from "Misplaced Childhood". It was also released as the A side of Marillon's first single "Kayleigh" and with "Lady Nina" as the B side. This is maybe the most recognizable Marillion's tune. It's one of the most accessible tracks on that album with again nice lyrics and beautiful soloing by Rothery. The thirteenth 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", but it doesn't appear on that original album. It was also released as a separated single in 1988. This is really a funny Fish's romp. The fourteenth track "Forgotten Sons" is from "Script For A Jester's Tear". It's a song with very powerful lyrics and with a clear political message with references to the Northern Ireland conflict, at the time. This is one of their best pieces and one of their successful hits performed with excellent and speedy guitar solos. Rothery is an underrated guitarist, really.

Conclusion: "Warm Wet Circles" is a fine compilation album from Marillion that comprises tracks from three of their studio albums released in Fish's era plus two non-album's tracks. However, it doesn't have any track from their second studio album "Fugazi", which is, in my humble opinion, a bit strange thing. For a band that only released four studio albums in Fish's era, that is, at least, somewhat, a bit surprising. It's true that "Fugazi" is in general considered their weakest of those four albums, and is my less favourite too, but it still is undoubtedly, a great album too, really. Anyway, in my humble opinion, that fact doesn't weaken the general quality of this compilation album, really. It contains some of the best tracks of Marillion released in those days. So, it remains, for me, a very interesting and nice compilation that serves perfectly well as an introduction to the music of Marillion in that era. Still, it can never replace all those albums.

Prog is my Ferrari. Jem Godfrey (Frost*)