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MARILLION

Neo-Prog • United Kingdom


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Marillion picture
Marillion biography
MARILLION, taking their name from Tolkien's "The Silmarillion", are the well known band that invented the "New Wave of Progressive Rock". Their sound is similar to GENESIS '72 to '82 or thereabouts, with PINK FLOYD and YES influences. The line-up, by this time, comprised Fish (his real name, Derek Dick, was worse; vocals), Mark Kelly (keyboards), Steve Rothery (guitar), Ian Mosley (drums) and Peter Trewavas (bass).

MARILLION - FISH (1982 - 1988)
The music is directed around the poetic and sometimes fantasy lyrics of the lead singer Fish, who sounds very much like Peter Gabriel. The band got their best successes, both artistically, progressively and commercially. "Script For A Jester's Tear" showed influences from many of the great 70's progressive bands. The second studio album "Fugazi" followed in the next year. The third studio album, "Misplaced Chilhood", was a true concept album and placed MARILLION among the greats. MARILLION's fourth album "Clutching At Straws" was to be "old" MARILLION's farewell to the world. The album, dealing with the problems of drug addiction and alcoholism, was the final album to be made with Fish as front man and lyricist. Fish left the band in 1988 to pursue a solo career.

MARILLION - HOGARTH (1989 - today)
Their new sound seems more geared for radio play, although they still have an air of depression in the music. "Season's End" was issued in 1989 with a new singer, a lot less inspired by Peter Gabriel, Steve HOGARTH. Their album "Brave", considered one of the modern masterpieces of progressive rock, is a concept piece about a young girl that contemplates suicide on a bridge. This daring concept album is a spectacular exercise in multi-layered music.

Personnally, I enjoy both styles, although I prefered the old art rock style of Fish. Still, with Hogarth, MARILLION has progressed to a higher level making it one of the top bands from the mid eighties till now...

Marillion official website

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MARILLION Videos (YouTube and more)


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Buy MARILLION Music


FearFear
EarMusic Label 2016
Audio CD$12.99
F.e.a.rF.e.a.r
Super Audio CD - DSD
EarMusic Label 2016
Audio CD$19.84
Misplaced ChildhoodMisplaced Childhood
Import
EMI Europe Generic 2007
Audio CD$2.01
$2.75 (used)
Sounds That Can't Be MadeSounds That Can't Be Made
Eagle Records 2012
Audio CD$7.69
$5.38 (used)
BraveBrave
Import · Remastered · Special Edition
Caroline 1998
Audio CD$3.83
$9.15 (used)
MarblesMarbles
Madfish Records 2011
Audio CD$9.31
$6.30 (used)
Clutching at StrawsClutching at Straws
Import · Remastered · Special Edition
Caroline 1999
Audio CD$3.83
$3.99 (used)
Early Stages: HighlightsEarly Stages: Highlights
Import
EMI Import 2013
Audio CD$3.83
$10.43 (used)
FugaziFugazi
Extra tracks · Import · Remastered · Special Edition
Caroline 1998
Audio CD$3.83
$2.64 (used)
Somewhere in LondonSomewhere in London
Madfish Records 2016
Audio CD$10.03
$10.02 (used)
Right Now on Ebay (logo)
Marillion Sounds That Can't Be Made 2 CD Special Edition Germany 2013 Like New USD $22.00 Buy It Now
MARILLION "Promo" Script for a Jesters Tear EMS81584 LP Ff0424 USD $23.01 [12 bids]
Marillion ?The Thieving Magpie (La Gazza Ladra) 2xLP - Venezuelan Press EMI1989 USD $32.00 Buy It Now
MARILLION - THE SINGLES VOL.2 '89-95' (4 CD) PROGRESSIVE ROCK NEW+ USD $17.48 Buy It Now
MARILLION fugazi EMI UK orig 1st gate 1984 heavy prog EX USD $9.99 [0 bids]
MARILLION - SOUNDS THAT CAN'T BE MADE ( SPECIAL EDITION ) 2 CD NEW+ USD $18.88 Buy It Now
Marillion live concert Lancaster Uni 12th of February 1984 A4 size poster print USD $19.43 Buy It Now
Marillion live concert Lancaster Uni 12th of February 1984 A4 size poster print USD $19.43 Buy It Now 4m 30s
VANCE An Epitaph For Mary orig '82 Holland prog lp Eela Craig Marillion Genesis USD $24.99 [0 bids]
11m 41s
MARILLION original gatefold Vinyl 2LP Brave (1994) USD $259.99 Buy It Now 24m 42s
MARILLION original Vinyl LP Afraid Of Sunlight (1995) USD $324.99 Buy It Now 24m 54s
MARILLION original Vinyl LP Holidays In Eden (1991) USD $79.99 Buy It Now 25m 5s
Marillion live concert Manchester Apollo 14th February 1984 A4 size poster print USD $19.43 Buy It Now 34m 55s
Marillion live concert Manchester Apollo 14th February 1984 A4 size poster print USD $19.43 Buy It Now 1h 22m
Marillion live concert at Glasgow Apollo 17th February 1984 A4 size poster print USD $19.43 Buy It Now 1h 36m
Marillion Grendel Limited Edition RSD 2013 12 Inch Picture Disc USD $25.91 Buy It Now 1h 41m
Marillion live concert at Glasgow Apollo 17th February 1984 A4 size poster print USD $19.43 Buy It Now 1h 43m
Marillion live concert Aberdeen Capitol 18th February 1984 A4 size poster print USD $19.43 Buy It Now 2h 7m
Marillion live concert Aberdeen Capitol 18th February 1984 A4 size poster print USD $19.43 Buy It Now 2h 12m
Marillion live concert Edinburgh Playhouse 19 February 1984 A4 size poster print USD $19.43 Buy It Now 2h 31m
Marillion live concert Edinburgh Playhouse 19 February 1984 A4 size poster print USD $19.43 Buy It Now 2h 48m
Marillion live concert Newcastle City Hall 20 February 1984 A4 size poster print USD $19.43 Buy It Now 3h 3m
IRON MAIDEN-MARILLION-DAVID BOWIE-ARCADIA Greek 1985 2 LP MINT USD $24.99 Buy It Now 3h 15m
Marillion live concert Newcastle City Hall 20 February 1984 A4 size poster print USD $19.43 Buy It Now 3h 21m
Marillion Incommunicado 7" USD $4.21 Buy It Now 3h 25m
Marillion live concert St. Andrews Norwich 22 February 1984 A4 size poster print USD $19.43 Buy It Now 3h 37m
Marillion.com - Marillion LP USD $37.92 Buy It Now 3h 47m
Marillion live concert St. Andrews Norwich 22 February 1984 A4 size poster print USD $19.43 Buy It Now 4h 2m
Marillion live concert Oxford Apollo 23rd of February 1984 A4 size poster print USD $19.43 Buy It Now 4h 15m
Marillion live concert Oxford Apollo 23rd of February 1984 A4 size poster print USD $19.43 Buy It Now 4h 28m
Marillion live concert St Davids Cardiff 24th February 1984 A4 size poster print USD $19.43 Buy It Now 4h 51m
MARILLION "MISPLACED CHILDHOOD (+ BONUS CD)" 2 CD NEW+ USD $21.76 Buy It Now 4h 54m
Marillion live concert St Davids Cardiff 24th February 1984 A4 size poster print USD $19.43 Buy It Now 4h 54m
MARILLION Kayleigh 12" EP Fish Progressive Rock Emi 1985 USD $1.28 [0 bids]
5h
MARILLION MISPLACED CHILDHOOD 86 GLOSSY COLOUR TOUR PROGRAMME USD $9.06 [0 bids]
5h
MARILLION - YOU'RE GONE - CD SINGLE 2 - MINT USD $2.58 Buy It Now 5h 6m
Marillion live concert at Plymouth 25th of February 1984 A4 size poster print USD $19.43 Buy It Now 5h 20m
Marillion Kayleigh 12" vinyl single record (Maxi) UK 12MARIL3 EMI 1985 USD $14.18 Buy It Now 5h 51m
MARILLION+Script Jester's+POSTER+AD+RARE+ORIGINAL 1983+FRAMED+FAST GLOBAL SHIP USD $90.66 Buy It Now 5h 54m
MARILLION Assassing (Full Version) EMI RECORDS 12" VINYL Free UK Post USD $13.74 Buy It Now 5h 58m
Marillion live concert at Plymouth 25th of February 1984 A4 size poster print USD $19.43 Buy It Now 6h
MARILLION "SUGAR MICE" VINYL 12" PICTURE DISC EMI RECORDS FROM 1987 12 MARIL P 7 USD $13.15 Buy It Now 6h 6m
Garden Party (The Great Cucumber Mass... Marillion NET 7" record USD $16.78 Buy It Now 6h 10m
Marillion Fugazi German vinyl LP album record 1C0642400851 EMI 1984 USD $18.08 Buy It Now 6h 17m
Real To Reel Marillion vinyl LP album record UK FA4131421 FAME/ EMI 1984 USD $20.67 Buy It Now 6h 17m
Marillion 7" vinyl single record Garden Party - P/S UK EMI5393 EMI 1983 USD $15.47 Buy It Now 6h 18m
Marillion Punch & Judy + Sleeve 7" vinyl single record UK MARIL1 EMI 1984 USD $15.47 Buy It Now 6h 23m
Marillion Freaks UK 7" vinyl single record MARIL9 EMI 1988 USD $12.88 Buy It Now 6h 23m
Heart Of Lothian Marillion 7" vinyl single record UK MARIL5 EMI 1985 USD $12.88 Buy It Now 6h 23m
MARILLION "SINGLES COLLECTION 1982-1992" CD NEW+ USD $17.45 Buy It Now 6h 31m
Marillion Real To Reel vinyl LP album record Dutch 1C038-2603031 EMI 1984 USD $20.67 Buy It Now 6h 35m
Big Big Train - English Electric, Pt. 2 (2013) PROG,GENESIS,MARILLION MINT USD $6.48 [0 bids]
6h 45m
Christmas 2000 A Piss-Up In A Brewery Marillion CD album (CDLP) UK WEBFREE03 USD $48.60 Buy It Now 6h 49m
A Very Barry Christmas Marillion UK CD album (CDLP) WEBFREE04 RACKET RECORDS USD $35.64 Buy It Now 6h 49m
Marillion CD album (CDLP) Say Cheese! Christmas With Marillion UK WEBFREE06 USD $35.64 Buy It Now 6h 49m
Marillion Christmas 2002: Santa And His Elvis UK CD album (CDLP) WEBFREE05 USD $35.64 Buy It Now 6h 49m
Marillion Live In Caracas CD album (CDLP) UK RACKET2 RACKET RECORDS 1993 USD $61.56 Buy It Now 6h 49m
Marillion The Making Of Brave - 1st UK 2 CD album (Double CD) RACKET06 USD $42.12 Buy It Now 6h 49m
Marillion From Dusk 'til Dot Volume 2 - Another... UK 2 CD (Double CD) USD $68.04 Buy It Now 6h 49m
Marillion Somewhere Elf CD album (CDLP) UK WEBFREE10 RACKET 2007 USD $35.64 Buy It Now 6h 49m
Marillion From Dusk 'til Dot Volume 4 - Caught ... 2 CD (Double CD) UK USD $68.04 Buy It Now 6h 49m
Marillion Pudding On The Ritz UK CD album (CDLP) WEBFREE11 RACKET RECORDS 2008 USD $35.64 Buy It Now 6h 49m
Unzipped - The Making Of Anoraknophobia Marillion 2 CD album (Double CD) UK USD $35.64 Buy It Now 6h 49m
Zodiac Marillion UK CD album (CDLP) RACKET11 RACKET RECORDS 1999 USD $48.60 Buy It Now 6h 49m
Marillion Script For A Jester Tear CD album (CDLP) UK CDP7462372 EMI 1985 USD $16.20 Buy It Now 6h 49m
Marillion 2 CD album (Double CD) From Dusk 'til Dot Volume 1 - ReFracted! UK USD $68.04 Buy It Now 6h 49m
Marillion live concert Exeter University 27th February 1984 A4 size poster print USD $19.43 Buy It Now 7h
Marillion live concert Exeter University 27th February 1984 A4 size poster print USD $19.43 Buy It Now 7h 5m
MARILLION "REEL TO REAL &BRIEF ENCOUNTER" 2 CD NEW+ USD $15.92 Buy It Now 7h 15m
MARILLION "RECITAL OF THE SCRIPT LIVE 83" 2 CD NEW+ USD $15.92 Buy It Now 7h 15m
MARILLION "AFRAID OF SUNLIGHT (+BONUS CD)" CD NEW+ USD $15.92 Buy It Now 7h 16m
MARILLION - A SUNDAY NIGHT ABOVE THE RAIN 2 CD NEW+ USD $13.98 Buy It Now 7h 16m
7X P/S 7" JOB LOT ROCK- MERCURY-JOVI-QUO-MARILLION-SEGER-DEF LEPPARD SUPERB SET USD $19.43 Buy It Now 7h 38m
MARILLION "THE SINGLES '82-'88" 3 CD NEW+ USD $23.08 Buy It Now 8h 10m
MARILLION "CLUTCHING AT STRAWS" 2 CD NEW+ USD $15.92 Buy It Now 8h 10m
Clutching At Straws - Marillion Compact Disc USD $16.03 Buy It Now 8h 39m
Marillion 'Lothian's Heart' Rare EU 2LP (Live) USD $49.99 [0 bids]
8h 44m
MARILLION - COVER MY EYES (PAIN AND HEAVEN) MARIL13 UK 1991 + PIC SLEEVE USD $1.28 [0 bids]
8h 45m
Marillion - B-Sides Themselves - music cd album USD $12.90 Buy It Now 9h 2m
Marillion: Live at High Voltage, 25 July 2010 (2-CD) USD $10.97 Buy It Now 9h 12m
Slip Double: Marillion : Christmas Tour 2014 : Live London Forum 2014 : 2 CDs USD $51.83 [0 bids]
9h 19m
Marillion ?- Misplaced Childhood (EMS-81728) JAPAN 1St LP OBI NMINT Vinyl USD $57.12 Buy It Now 9h 23m
CD Double: Fish : Sashimi Live Poznan Poland 1999 Marillion USD $9.72 [0 bids]
9h 34m
Marillion - Zodiac extremely rare USD $19.44 [0 bids]
9h 44m
Marillion Live In Caracas CD album (CDLP) UK RACKET2 RACKET RECORDS 1993 USD $25.92 [0 bids]
9h 46m
Marillion live concert Colston Bristol 28 February 1984 A4 size poster print USD $19.43 Buy It Now 9h 53m
Marillion live concert Colston Bristol 28 February 1984 A4 size poster print USD $19.43 Buy It Now 9h 53m
MARILLION He Knows You Know / Charting The Single UK Import 45 with PicSleeve USD $9.99 Buy It Now 9h 56m
MARILLION No One Can / A Collection UK Import 45 with PicSleeve USD $4.99 Buy It Now 9h 57m
MARILLION Kayleigh / Heart Of Lothian rare 45 with PicSleeve from 1985 USD $2.99 Buy It Now 9h 57m
MARILLION Garden Party / Margaret (live) UK Import 45 with PicSleeve USD $9.99 Buy It Now 9h 57m
MARILLION Kayleigh / Heart Of Lothian rare 45 with PicSleeve from 1985 USD $9.99 Buy It Now 9h 57m
MARILLION Lavender / Freaks PORTUGAL Import 45 with PicSleeve USD $14.99 Buy It Now 9h 57m
Fish ex. Marillion live concert at Durham Gala 4th May 2014 A4 size poster print USD $19.43 Buy It Now 10h 6m
Fish ex. Marillion live concert Wolverhampton 6th May 2014 A4 size poster print USD $19.43 Buy It Now 10h 27m
MARILLION~THE SINGLES COLLECTION (1992 CD) 14 CLASSIC TRACKS USD $1.28 [0 bids]
10h 37m
Fish ex. Marillion live concert at Norwich 8th of May 2014 A4 size poster print USD $19.43 Buy It Now 10h 55m
MARILLION KAYLEIGH EMI 85 P/S 45 VG+ USD $3.88 Buy It Now 11h 5m
Fish ex. Marillion live concert Islington London 9 May 2014 A4 size poster print USD $19.43 Buy It Now 11h 16m
Fish ex. Marillion live concert Cardiff Globe 10th May 2014 A4 size poster print USD $19.43 Buy It Now 11h 36m

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MARILLION discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

MARILLION top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.22 | 1724 ratings
Script For A Jester's Tear
1983
3.98 | 1144 ratings
Fugazi
1984
4.23 | 1808 ratings
Misplaced Childhood
1985
4.14 | 1121 ratings
Clutching At Straws
1987
3.76 | 740 ratings
Seasons End
1989
3.11 | 553 ratings
Holidays In Eden
1991
3.97 | 877 ratings
Brave
1994
3.80 | 594 ratings
Afraid Of Sunlight
1995
3.44 | 480 ratings
This Strange Engine
1997
2.68 | 440 ratings
Radiation
1998
3.15 | 410 ratings
Marillion.com
1999
3.39 | 470 ratings
Anoraknophobia
2001
4.09 | 928 ratings
Marbles
2004
3.08 | 454 ratings
Somewhere Else
2007
3.37 | 494 ratings
Happiness Is The Road
2008
2.84 | 300 ratings
Less Is More
2009
3.59 | 517 ratings
Sounds That Can't Be Made
2012
3.71 | 58 ratings
F E A R (F*** Everyone And Run)
2016

MARILLION Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.83 | 279 ratings
Real to Reel
1984
3.84 | 281 ratings
The Thieving Magpie - La Gazza Ladra
1988
2.34 | 25 ratings
Live at the Borderline
1992
3.35 | 27 ratings
Live in Glasgow
1993
3.78 | 44 ratings
Live in Caracas
1993
4.09 | 80 ratings
Live From Loreley
1995
3.48 | 131 ratings
Made Again
1996
3.68 | 55 ratings
Live At The Walls
1998
3.93 | 34 ratings
Piston Broke
1998
3.23 | 22 ratings
Marillionrochester
1998
3.17 | 31 ratings
Zodiac
1999
3.81 | 72 ratings
Anorak in the UK Live
2002
4.75 | 41 ratings
Brave Live 2002
2003
4.13 | 13 ratings
Christmas In The Chapel
2003
4.55 | 41 ratings
Curtain Call - A Live Archive 1983 - 1988
2004
4.27 | 91 ratings
Marbles Live
2005
4.18 | 47 ratings
Marbles By The Sea
2005
3.70 | 34 ratings
Popular Music
2005
4.13 | 12 ratings
Bootleg Bingo
2005
3.57 | 28 ratings
Smoke
2006
3.77 | 34 ratings
Mirrors
2006
4.30 | 47 ratings
Family
2007
4.02 | 33 ratings
Friends
2007
4.24 | 23 ratings
Somewhere In London
2007
4.50 | 89 ratings
Early Stages: The Official Bootlegs 1982-1987
2008
4.49 | 89 ratings
Recital of the Script
2009
4.28 | 85 ratings
Live From Loreley
2009
3.68 | 21 ratings
Happiness Is Cologne
2009
3.64 | 23 ratings
High Voltage
2010
3.79 | 40 ratings
The Official Bootleg Box Set Vol. 2
2010
3.66 | 39 ratings
Tumbling Down The Years
2010
4.02 | 36 ratings
size matters
2010
3.88 | 23 ratings
Live In Montréal // Saturday
2010
3.86 | 23 ratings
Live In Montréal // Sunday
2010
3.78 | 22 ratings
Live In Montréal // Friday
2011
3.75 | 21 ratings
holidays in eden live
2011
4.18 | 43 ratings
Live From Cadogan Hall
2011
4.89 | 18 ratings
Afraid of Sunlight Live
2011
3.60 | 16 ratings
This Strange Engine Live
2011
3.70 | 18 ratings
Seasons End Live
2011
3.78 | 21 ratings
A-Z Live 2011
2012
3.91 | 36 ratings
Sounds Live
2012
3.74 | 19 ratings
The Glow Must Go On
2012
3.62 | 20 ratings
Clocks Already Ticking
2013
3.82 | 25 ratings
Brave Live 2013
2013
4.43 | 7 ratings
Live At The Forum
2014
4.71 | 14 ratings
Sunday Night Above The Rain
2014
3.67 | 3 ratings
A Monstrously Festive(al) Christmas
2015

MARILLION Videos (DVD, Blu-ray, VHS etc)

4.36 | 151 ratings
Recital Of The Script
1983
3.36 | 29 ratings
Video
1984
2.55 | 26 ratings
1982-86 The Videos
1986
3.72 | 29 ratings
A Singles Collection
1992
4.78 | 52 ratings
Brave Live 2002
2002
2.81 | 14 ratings
Shot In The Dark
2002
4.73 | 11 ratings
A Piss-up in a Brewery
2002
3.15 | 40 ratings
The EMI Singles Collection
2002
3.70 | 53 ratings
From Stoke Row To Ipanema - A Year In The Life (DVD)
2003
3.95 | 20 ratings
Christmas In The Chapel
2003
4.20 | 16 ratings
Before First Light (Afraid of Sunlight Live 2003)
2003
4.45 | 131 ratings
Live from Loreley
2004
3.81 | 64 ratings
Marbles On The Road
2004
2.89 | 43 ratings
Brave - The Film
2004
4.13 | 25 ratings
Wish You Were Here
2005
4.29 | 7 ratings
Colours And Sound
2006
4.20 | 51 ratings
Somewhere In London
2007
4.30 | 18 ratings
Bootleg Butlins
2007
3.78 | 9 ratings
Thank You Whoever You Are / Most Toys
2007
3.58 | 14 ratings
Something Else
2007
4.40 | 10 ratings
This Strange Convention
2009
4.75 | 4 ratings
M Tube: An Introduction To Marillion On DVD
2010
4.46 | 50 ratings
Out Of Season
2010
4.16 | 44 ratings
Live At Cadogan Hall
2011
4.82 | 22 ratings
Live In Montréal
2011
4.45 | 21 ratings
Holidays In Zelande
2012
3.93 | 23 ratings
Brave Live 2013
2013
4.64 | 11 ratings
Breaking Records
2015

MARILLION Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.44 | 173 ratings
B'Sides Themselves
1988
2.92 | 62 ratings
A Singles Collection - Six of One, Half a Dozen of the Other
1992
1.60 | 10 ratings
Marillion Music Collection
1993
4.19 | 13 ratings
The Originals
1995
2.99 | 37 ratings
Kayleigh
1996
4.25 | 8 ratings
The Best of Marillion
1996
3.31 | 43 ratings
The Best of Both Worlds (2 cd boxset)
1997
4.08 | 69 ratings
Real to Reel - Brief Encounter
1997
3.14 | 9 ratings
Kayleigh - The Essential Collection
1998
2.21 | 57 ratings
Marillion and the Positive Light - Tales from the Engine Room
1998
4.46 | 41 ratings
The singles '82 - 88'
2000
3.29 | 8 ratings
Refracted! - From dusk 'till dot, Volume 1
2001
3.71 | 7 ratings
Another DAT at the Office
2001
3.33 | 9 ratings
Fall Out
2002
3.21 | 14 ratings
marillion.co.uk
2002
3.15 | 8 ratings
AWOL: A Marillion Solo Projects Sampler
2002
3.47 | 25 ratings
The singles '89- 95'
2002
4.25 | 4 ratings
The Best Of Marillion (EMI Compilation)
2003
4.75 | 4 ratings
Warm Wet Circles
2003
3.27 | 11 ratings
marillion.co.uk (2005 Version)
2005
4.50 | 2 ratings
Classics
2009
4.50 | 2 ratings
Keep The Noise Down
2010
4.83 | 6 ratings
Misplaced Childhood / Script For A Jester's Tear
2011
4.50 | 4 ratings
4 Albums
2011
4.00 | 3 ratings
Greatest Hits On CD & DVD
2012
4.43 | 14 ratings
Marillion.Best.Live
2012
4.00 | 3 ratings
Sounds That Can't Be Made Special Edition
2013
2.38 | 7 ratings
Best Sounds
2014
4.33 | 21 ratings
A Sunday Night Above the Rain
2014
3.25 | 8 ratings
A Collection Of Recycled Gifts
2014

MARILLION Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

3.90 | 104 ratings
Market Square Heroes
1982
4.09 | 37 ratings
Garden Party
1983
4.16 | 36 ratings
He Knows You Know
1983
3.98 | 33 ratings
Punch and Judy
1984
3.67 | 47 ratings
Assassing
1984
3.32 | 47 ratings
Kayleigh
1985
4.00 | 5 ratings
The Story So Far...
1985
3.56 | 49 ratings
Lavender
1985
3.51 | 49 ratings
Heart of Lothian
1985
2.57 | 58 ratings
Brief Encounter
1986
4.00 | 8 ratings
Garden Party Live
1986
4.13 | 23 ratings
Lady Nina
1986
4.04 | 32 ratings
Sugar Mice
1987
3.76 | 29 ratings
Incommunicado
1987
4.00 | 30 ratings
Warm Wet Circles
1987
2.95 | 19 ratings
Incommunicado & Sugar Mice - Video
1987
4.17 | 18 ratings
Freaks
1988
3.64 | 14 ratings
Uninvited Guest
1989
4.30 | 20 ratings
Easter
1989
3.47 | 15 ratings
hooks in you
1989
3.27 | 14 ratings
No One Can
1991
3.17 | 6 ratings
Cover My Eyes (Pain And Heaven)
1991
3.17 | 6 ratings
Dry Land
1991
3.56 | 16 ratings
Sympathy
1992
3.37 | 19 ratings
Sympathy
1992
3.90 | 10 ratings
No One Can
1992
3.79 | 14 ratings
Beautiful
1995
2.73 | 14 ratings
Beautiful
1995
4.18 | 19 ratings
The Making of Brave
1995
4.00 | 13 ratings
Man of a Thousand Faces
1997
3.82 | 11 ratings
Eighty Days
1997
2.91 | 16 ratings
These Chains (Single)
1998
3.00 | 8 ratings
Marillion & the Web Christmas 1998
1998
3.25 | 8 ratings
Marillion.Christmas
1999
2.73 | 12 ratings
Marillion.co.uk
2000
3.75 | 8 ratings
Crash Course - An Introduction to Marillion
2001
2.71 | 14 ratings
A Verry Barry Christmas
2001
4.18 | 11 ratings
Between You And Me / Map Of The World
2001
4.30 | 15 ratings
Christmas 2000: A Piss-Up In A Brewery
2001
3.22 | 4 ratings
Front Row Club Issue 7
2002
4.13 | 6 ratings
Le Spectrum, Montréal, Canada, 6 September 1997 (Front Row Club 008)
2002
3.67 | 3 ratings
Christmas 2002: Santa And His Elvis
2002
4.06 | 8 ratings
Say Cheese, Christmas With Marillion
2003
4.00 | 1 ratings
View From The Balcony (A Front Row Club Sampler)
2003
3.04 | 8 ratings
Christmas 2004: Baubles
2004
2.12 | 11 ratings
Remixomatosis
2004
2.08 | 10 ratings
A Handful Of Marbles
2005
4.33 | 3 ratings
Christmas 2005 : Merry Xmas To Our Flock
2005
4.00 | 2 ratings
Christmas 2006: The Jingle Book
2006
3.67 | 3 ratings
Unzipped - The Making Of Anoraknophobia
2006
4.00 | 3 ratings
Christmas 2007: Somewhere Elf
2007
2.58 | 10 ratings
Thank You Whoever You Are
2007
3.11 | 10 ratings
Thank You Whoever You Are / Most Toys
2007
4.00 | 6 ratings
ABC, Glasgow, Scotland. 9 November 2008
2008
3.75 | 4 ratings
The Basement, Newcastle, UK. 10 November 2008
2008
4.20 | 5 ratings
Colston Hall, Bristol, UK. 11 November 2008
2008
4.50 | 2 ratings
LMUSU, Leeds, UK. 13 November 2008
2008
4.50 | 2 ratings
Academy, Manchester, UK. 14 November 2008
2008
4.50 | 4 ratings
Opera House, Bournemouth, UK. 15 November 2008
2008
4.11 | 10 ratings
The Forum, London, UK. 19 November 2008
2008
4.50 | 2 ratings
JBs, Dudley, UK. 17 November 2008
2008
4.33 | 3 ratings
Rock City, Nottingham, UK. 18 November 2008
2008
2.42 | 3 ratings
De Waerdse Temple, Heerhugowaard, Netherlands. 21 November
2008
5.00 | 2 ratings
013, Tilburg, Netherlands. 23 November 2008
2008
5.00 | 2 ratings
Vereeniging, Nijmegen, Netherlands. 24 November 2008
2008
4.27 | 6 ratings
E-Werk, Cologne, Germany. 26 November 2008
2008
5.00 | 2 ratings
Le Splendid, Lille, France. 27 November 2008
2008
3.57 | 7 ratings
Christmas 2008: Pudding On The Ritz
2008
4.04 | 5 ratings
Happiness on the Road - Concorde 2 Brighton - 28 January 2009
2009
4.00 | 2 ratings
Christmas 2009: Snow De Cologne
2009
3.00 | 4 ratings
Crash Course
2009
4.00 | 2 ratings
Christmas 2010: Ding, Dong Loreley On High...
2010
4.00 | 2 ratings
Christmas 2011: Live At The German Space Day 2004
2011
3.33 | 3 ratings
Christmas 2012: Sleighed Again
2012
4.60 | 5 ratings
North American Tour 2012: Irwing Plaza, New York City, USA - 12 June 2012
2012
4.40 | 5 ratings
North American Tour 2012: Irwing Plaza, New York City, USA - 13 June 2012
2012
4.00 | 4 ratings
Crash Course
2013
4.25 | 8 ratings
The Carol Of The Bells
2013
4.00 | 2 ratings
Christmas 2013: Proggin' Around The Christmas Tree
2013
4.00 | 3 ratings
Christmas 2014: Chile For The Time Of Year
2014

MARILLION Reviews


Showing last 10 reviews only
 F E A R (F*** Everyone And Run) by MARILLION album cover Studio Album, 2016
3.71 | 58 ratings

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F E A R (F*** Everyone And Run)
Marillion Neo-Prog

Review by Progresearcher

2 stars The new Marillion album, "FEAR", has been compared to "Brave" and very early Marillion. In fact, however, it sounds like "Afraid of Sunlight" (or even "This Strange Engine") Part 2, artificially constructed as an epic. The music is either slow or very slow and is unpretentious, most of the time reminding me of symphonic Ambient with vocals. There are few purely instrumental arrangements (none of which exceed 1 minute in duration), and they're as boring as the mixed ones, Hogarth really whining this time around, throughout the album, no matter what he whines about, i.e., the lyrics are more than merely decent overall. Sans the concluding one, The New Kings, all the epic-length songs are just pseudo-epic in construction. Either way, while being the best track here, The New Kings is also dissatisfying from a progressive rock perspective, strongly inferior to 'The King' from the aforementioned "This Strange Engine". IMO, any progressive rock song should be created on the basis of instrumental arrangements (as it was in the case of "Brave", for instance), rather than by using the vocal lines as a 'starting point' for composing music, but "FEAR" is characterized exactly by the latter approach. To be objective, I must add that the album is by no means devoid of what we've used to call "atmosphere", which is more often dramatic than romantic (indeed, it would've been really strange had it been otherwise), but never really dark, let alone fearful. So, if you consider "Brave" the best Marillion album (as I do), avoid "FEAR", because there's too little here to please even a 'classic' neo-prog fan, let alone those who prefer profound progressive rock.
 F E A R (F*** Everyone And Run) by MARILLION album cover Studio Album, 2016
3.71 | 58 ratings

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F E A R (F*** Everyone And Run)
Marillion Neo-Prog

Review by Kingsnake

2 stars Don't get me wrong, I used to be a great enthousiast of Marillion. I liked them to bits. I even enjoyed Marillion.com and Anaroknophobia.

But since they turned into a shadow of themselves, every album seems and sounds uninspired. FEAR sounds like the guys really don't want to do it anymore. They do it for the fans. Mediocre songs with uninspired musical and vocal contributions.

Mark Kelly and Pete Trewavas are the only ones that sound great. Ian Mosley hasn't played a single drumroll or beat since Interior Lulu that held me in awe. He sounds tired and washed out. The same goes for Steve Rothery, where are the heartbreaking and goosebumpy solos like on Easter or Ocean Cloud?

And Steve Hogarth sings really forced. He takes the leadrole and he's always singing, never giving the band a chance to come with nice instrumental passages. He never really was a good singer, but he had soul and emotion. Now it all seems gone.

The last great record the band made was Less is More and with pain in my heart, I must admit that Marillion doesn't do it for me anymore. Sorry guys.

 F E A R (F*** Everyone And Run) by MARILLION album cover Studio Album, 2016
3.71 | 58 ratings

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F E A R (F*** Everyone And Run)
Marillion Neo-Prog

Review by progpromoter

2 stars So here we are once more to talk about Marillion's new stuff. Once more their latest work is subsequent to a pre-order, then there is the promotional tour, maybe with a LIVE record, then there will be the Marillion Weekend followed by a DVD and so on and on, with a tried and tested mechanism to earn money, well supported by the huge quantity of fans. Before going on I need to make you notice that I know Marillion since their very first start, and I loved them in both Fish and H lives.

I've listened to FEAR several times then I decided to write down this review, which is a step forward with the respect of the preceding STCBM, when I was totally unimpressed.

The overall impression is that this new work is better than the preceding album, there are no silly songs as "Pour My Love" or "Invisible Ink", there are long suites in the classical aim of progressive rock songs. My perception is that the sounds and the song structures come from preceding recording sessions as MARBLES or BRAVE (don't be surprised... these are their best works in H era and are extremely beloved by fans) or also something from THIS STRANGE ENGINE. The result brings, in my opinion, to useless long suites built up with cut&paste of several sketches, without energy, inspiration and creativity. The guitar solos, once one of their best things, come out always in the same way, with the same register and the same pattern. The drummer work seems unenthusiastic, poor of ideas and even the drums sound seems too grave and vintage, as if it would have been recorded with only two overhead microphones, instead of a complete set on the single components of the drumkit. Too bad! On the other hand, Mark Kelly seems to have found another time that beautiful way to play piano, which was among the beautiful things of Marillion sound (remember how strong and incisive was the chord which followed 'So here I am once more..." in the first album) and Pete's bass is always precise, well rounded and rich of good patterns. I've found very interesting and captivating the sumptuous end of "The New Kings", but when you have to wait almost an hour for an emotion in a CD, something's not going in the right way, don't you think?

At the end I think that Marillion have a huge amount of unreleased stuff in their wardrobes, and they eventually extract from it what their fans prefer, since they've paid for the new album in advance. Hoping the provisions will end as soon as possible I cannot give more than 2 stars. 2.5 for the love I had for this band in the past.

 F E A R (F*** Everyone And Run) by MARILLION album cover Studio Album, 2016
3.71 | 58 ratings

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F E A R (F*** Everyone And Run)
Marillion Neo-Prog

Review by maani
Special Collaborator Founding Moderator

4 stars "The cold war's gone, but those bastards'll find us another one/They're here to protect you, don't you know?/So get used to it - Get used to it!.../The sense that it's useless, and the fear to try/Not believing the leaders, the media that feed us/Living with the big lie." ("Living With the Big Lie," from Brave)

In the 27 years since Steve Hogarth took over as lead vocalist for Marillion, the band has had only one bona fide concept album: the aurally and emotionally stunning Brave (1994). Using as a starting point the (true) news story of a young woman found roaming around an area of England -- who did not know who she was, or where she had come from, and even refused to speak to the police or the media -- the band created a fictional "back story" for her, which included some fairly "dark" elements, including re politics, socio-culture, media -- and fear. The above quotation is a good example -- and very relevant to their new album, as the new album offers a look at how the "big lie" has become even bigger. However, the overall effect of Brave was more "melancholic" than grim, more sad than "judgmental" (of the society they describe).

Twenty-two years later, the same (or worse) "darkness" exists in many of the same ways, but even more ominously now -- and this time the band is at the center of the story -- and they are ANGRY. Indeed, the overall effect of the album is one of barely checked (and occasionally unbridled) anger, and a deep frustration and concern both for England (whom they are directly addressing) and beyond (including the U.S., for whom some of the issues are the same). One might say (borrowing another phrase from Brave) that the band is no longer "hollow men," but has become both worldly-wise and world-weary, both "informed" and disillusioned, even (to a degree) cynical.

The album consists of three suites, separated by two other compositions, one of which relates directly to the suites, the other of which seems a tad out of place (though, as we will see, its inclusion does make some sense). The three suites -- "El Dorado," "The Leavers," and "The New Kings" -- and the related composition ("Living in FEAR") are all, in one form or another, observations on fear: how it is created (fear-mongering), how it is controlled (via politics and media), how it affects people. The other composition ("White Paper") is mostly a meditation on love -- in this case, "dying" love -- though it seems that the love is dying at least in part as the result of the prevailing atmos-fear. Thus, while it is a tad more "jarring" in this context then the similar inclusion of love on Brave, there is no question that love is also a victim of fear.

The album opens with "El Dorado," a five-part composition that describes the plight of immigrants, and the roadblocks (both figurative and literal) that they often encounter, particularly including xenophobia:

"The roads are traveled by many, like promises of peace./And some choose not to go -- the fear looks like bravado./I see them waiting, smiling, on the borders in dawn's mist,/Or lost to the world in their upturned boats"/"I see myself in them, the people at the borders/Denied our so-called golden streets,/Running from demolished lives into walls."

It doesn't get much more concise, and understandably cynical, than that. In fact, this suite makes an interesting companion piece to "Gaza" (from their previous album, Sounds That Can't Be Made): where the latter (a 17-minute epic) is specific to a certain group, the former (another 17-minute epic) deals with a broader scope. It is also interesting to note that this album was written and recorded well before the Brexit vote, and could be seen as somewhat prescient in that regard.

"Living in FEAR" is a more generalized look at fear, and particularly the responses it creates, not least including a variety of "walls" (again, both literal and figurative). Noting specific walls and "lines not to be crossed" (the Great Wall of China, the Maginot Line, the Berlin Wall -- all of which are called "a waste of time"), it also speaks to the "walls" that people themselves put up when they are afraid.

That observation is made against a hopeful call for some sort of normalcy:

"The key left in the outside of the unlocked door isn't forgetfulness --/It's a challenge to change your heart./The apple pie cooling on the windowsill is such a welcome change/From living in fear -- year after year after year./There's a price to pay, living in fear is so very dear./Can you really afford it?"

There is also a call to "put down our arms" ("We've decided to risk melting our guns -- as a show of strength").

Although least "political," the second suite ("The Leavers") puts the band in the center of the story -- after all, touring allows for a degree of observation of the world that is perhaps only shared by true "world travelers." The band sees itself as "Leavers" -- "parties that travel" -- who show up for a day or two and then move on. They arrive "before dawn," and "slip in from ring- roads," bringing their "boxes of noises, boxes of light": "We will make a show and then we'll go." They juxtapose themselves against the "Remainers": those who "remain in their homely places" (i.e., lead normal lives), and sometimes "try to persuade us, and tame us, and train us and save us and keep us home as we try to fit in with the family life." But once in a while, the Remainers "leave their homely places with excited faces -- preparing their minds for a break from the sensible life" (i.e., a rock concert)..."[I]n one sacred ritual, we all come together -- We're all one tonight."

As noted, although "White Paper" is something of an "outlier" here, it nevertheless provides a look at how fear can affect love -- and vice-versa.

"The New Kings" is the angriest and most sardonic of the three suites. It addresses money and media, plutocrats and oligarchs. Re money, it is decidedly less than kind:

"We are the new Kings, buying up London from Monaco./We do as we please, while you do as you're told./Our world orbits yours and enjoys the view,//From this height we don't see the slums and the bums on the street./Oceans of money high in the clouds/But if you hang around, more often than not it will trickle down./We're too big to fall, we're too big to fail."

Even Gordon Gekko gets a shout-out ("Greed is good").

With respect to the media, the following plaint by a confused citizen pretty much nails the cynicism of many people (including conspiracy theorists):

"We saw the crash on the news today/It changed our lives -- but did it really happen?.../I don't know if I can believe the news/They can do anything with computers these days."

As an aside, it is interesting to consider "The New Kings" in light of the following from Brave's "Paper Lies":

"Are we living only for today?/It's a sign of the times --/We believe anything and nothing./When you look into the money/Do you see a face you hardly recognize?/When you get behind the news of the world/Do the things you find begin to bend your mind?/Paper lies."

As noted, after 22 years, not only has nothing changed, but it seems to have gotten worse.

But the band leaves its bitterest anger at the "approaching storm" (which may well already be here) for last:

"Remember a time when you thought that you mattered/Believed in the school song, die for your country/A country that cared for you -- all in it together?/A national anthem you could sing without feeling used or ashamed./If it ever was more than a lie, or some naïve romantic notion/Well, it's all shattered now./Why is nothing ever true?.../On your knees, peasant. You're living for the New King."

Although Marillion (and particularly Mr. Hogarth) has always dabbled in socio-politics, it has become increasingly present -- and the band increasingly concerned -- of late. In this regard, F.E.A.R. is a shamelessly -- and understandably -- angry set of observations, and brings their socio-politics to a fine (rapier-like) point.

Musically, if Marillion's three strongest musical influences are (as I have always felt) Genesis, Pink Floyd and the Moody Blues, this album is strongly (and superbly) Floydian, with nice touches of the Moodies, and only occasional Genesis influence. (Indeed, the electric piano figure in "The Gold," and some other keyboard figures, could have been lifted from PF's Animals. And much of the guitar work throughout has a wonderfully Gilmour-ish sensibility.) This is actually not surprising (and is meant as a compliment), given that PF are the masters of the kind of "dystopian" rock that F.E.A.R. represents. And although everyone in the band is superb -- and there is a deceptively brilliant cohesion that approaches a sort of uber-gestalt -- this album is largely Mark Kelly's (with a more-than-able assist from guitarist Steve Rothery): although Mr. Hogarth undoubtedly plays some piano parts, it is Mr. Kelly's piano and keyboards (along with the atmospheres and effects created in the studio) that undergird nearly the entire album. And this, too, is not surprising, since this is true of almost every great concept album in prog.

As suggested above, there are also quite a few allusions (subconscious or not), both lyrical and musical, to Brave. In fact, after you have had a chance to truly take this album in, I invite you to go back and read the lyrics to Brave, and then listen to Brave again. And this is not in any way a criticism of F.E.A.R.: if anything, it is another compliment. Indeed, the only reason I am rating this album 4.5 instead of five stars is that I gave five stars to Brave; and while this album is superb in every way -- and harks back to that masterpiece -- it does not quite reach the frightening brilliance of its predecessor.

Finally, there is an aspect of this album that I have not found with any other concept album in memory. [N.B. This is where even curious readers who are reading this before listening may want to stop and listen to the album first. I am quite serious. I'll give you a little time to think about it. (Tick-tock-tick-tock?)]

What I have discovered is that the five pieces are strangely "inter-changeable." What I mean by this is that the song order can be changed, not only without changing the overall concept, but, in at least one case (and I admit this is hopelessly presumptive) possibly strengthening it.

This thought first occurred when I received the album as a download, with the song "Tomorrow's New Country" closing the album, even though it appeared on the lyric sheet as the sixth ("vi") part of "The Leavers." When I contacted Marillion to make sure this was the correct placement, I asked, if it was, whether it was deliberate: i.e., an attempt to "soften the blow" at the end of "The New Kings." The response was, yes, it was meant as an "antidote" (their word), and was deliberately moved from "The Leavers" to the end of the album (though the lyric sheet still reflected its original place).

So -- I decided to see what the album would sound like putting "Tomorrow's New Country" back in its "proper" place. And the effect was remarkable. Not better or worse, just -- different, in a surprising (and even conceptually relevant) way. (Once you have heard the album in its given order a few times, I highly recommend programming it to do this -- just for fun, if nothing else.) Then, feeling as I do about "White Paper," I decided to test a theory, and played the five pieces in a couple of different orders entirely (while keeping the three suites in order). The order that surprised me most (in a positive, eyebrow-raising way) with respect to expressing the overall concept (and also working together "musically" from one track to another) was starting with "White Paper," playing the three suites in their present order one after the other, and ending with "Living in FEAR." Again, I am not suggesting that the order chosen by the band is "wrong" in any way. After all, the band's "vision" is the one that counts, and there are reasons (good ones!) that they chose the song order that they did. I am simply suggesting that, unlike most (maybe any) concept albums you've heard, there is an interesting ability to "play around" with the placement of the two non-suites, and maintain both conceptual and musical integrity.

Ultimately, F.E.A.R. is a superb album (and, like all great albums, gets better with each listen), and a welcome addition not only to Marillion's oeuvre, but to the prog concept album canon. Kudos to one of the few bands that keeps neo-prog not simply alive, but thriving and -- progressing. And a band that has genuine care and concern for the world around them and the people who live in it.

 Market Square Heroes by MARILLION album cover Singles/EPs/Fan Club/Promo, 1982
3.90 | 104 ratings

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Market Square Heroes
Marillion Neo-Prog

Review by Matti
Prog Reviewer

4 stars The debut release of Marillion is very uncovenient and surprising. Not because of the fact that it's an EP, but for featuring the ultimate 17+- minute prog epic on a modest place of "B-side" non-album material. Surely if the currency of progressive rock had been any stronger at the early 80's (those were indeed the starvation years of prog), works like 'Grendel' would have been given all the glory, pride and self-esteem as a side of an LP, perhaps as a title epic, instead of being hidden on an EP.

But first about the two other songs. 'Market Square Heroes' is a bold, anthem-like rock song filled with the aspiring attitude of "Look out! Here we come!" Actually it has never much impressed me in its chorus-oriented straight-forwardness. I even prefer 'Three Boats Down from the Candy', which is powerfully dynamic as it finally bursts open after the creepy, held-back quietness and is finished with a fine guitar solo. The theatricality of Fish works well, I wouldn't blame him for being a Peter Gabriel clone. Or Marillion a Genesis clone.

'Grendel' marks a rare, almost one-of-a-kind view on the early 80's prog revivalists stepping bravely into the territory of multi- part, side-long epics such as Genesis's 'Supper's Ready' - to which it's often compared; I agree with Cygnus X-2 that the beat around the 13th minute resembles the Apocalypse section of 'Supper's Ready' and otherwise any accusations of mockery is unfair.

I always like to deal with the literary connections in prog compositions. The monster named Grendel originates from the Medieval epic poem Beowulf. But that's not the whole story when it comes to Fish's lyrics. He was inspired by John Gardner's novella "Grendel" (1971) that tells the story mostly from the monster's point of view. Of course I had to read the book (sadly unavailable in Finnish) as a young adult and a Marillion fan, but frankly the book didn't grab me as far as I remember. The author is American (1933 - 1982), not the British James Bond novelist of the same name. Also musically 'Grendel' succeeds extremely well in creating the horrorful atmosphere. The sections with different tempos and moods follow each other in a good balance. The nocturnal creepiness, the terror and violence, and finally the heroic conclusion... it's all captured vividly within the 17½ minutes. An admirable - if not technically faultless - piece from a band at the beginning of their recording career.

All three tracks of this EP are to be found on "B'Sides Themselves", but sadly its version of 'Three Boats...' is violently faded in the end.

 Radiation by MARILLION album cover Studio Album, 1998
2.68 | 440 ratings

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Radiation
Marillion Neo-Prog

Review by SteveG

3 stars "Radiation 2013" or "Radiation Remixed", as it's come to be known, is never a welcoming salvo for a rock music fan. But it gets us to the heart of the matter. Radiation, first released in it's original sound mix album form in 1998, despite it's incendiary cover art, was not a Marillion album that set the world on fire. The album, like the band, were going independent. Well, at least as far as record labels were concerned after splitting from the massive EMI label after Afraid Of Sunlight.

The band soon began trying to find their feet, first with excellent but heavily acoustic album This Strange Engine before trying again with Radiation. This Strange Engine featured some excellent prog songs, with different song presentations and style, and was given a pass as being Marillion's "This Strange Album." Something akin to a prog group doing the unplugged thing, but not taking the music that far into the world of acoustic. That would happen on the group's album Less Is More some ten years later.

However, Radiation definitely showed growing pains as the songs were less progressively epic and seemed to lack drama, which is saying quite a lot for a Marillion album. Of course, excellent songs like The Three Minute Boy, These Chains, and A Few Words For The Dead have drama in spades, but somehow seemed incapable of conveying it. The problem? The sound mix, naturally, as as the band could not possibly do any wrong, so they thought. "It's the mix! Let's fix it!"

Well, it's not that simple as the original mix, a bit cluttered and noisy, was not a disaster. The 2013 remix, for the sake of simplicity, generally adds greater clarity and detail, especially to the rhythm section. With the removal of "backing vocals probably by H, Pete and Mark" as well as removing Hogarth's ghost vocals and overdubs, this helps the instruments to come more to the fore and become the backing voices of the songs, and places Hogarth as more of a single narrator of the songs. A simple trick, but not really the cure. But as I said, it's an admission that the group somehow dropped the ball. And that's sad as Radiation, both the original and remixed versions have their virtues and fine moments, with Cathedral Wall and A Few Words For The Dead (with it's lush middle eastern vibe that seems to predate the song Gaza from Sounds That Can't Be Made) are wonderfully heavy keyboard and guitar based songs that display a rare interplay between Mark Kelly and Steve Rothery. Steve Hogarth's vocals are as always earnest, if not as precious this time around, and the usual call and response bass and drum playing by Pete Trewavas and Ian Mosley are in full display.

So what was wrong? Perhaps people just expected too much. Radiation is not Marillion's best album nor their worst. It's good and deserves a listen without any preconceptions or unreasonable expectations. Personally, I love all the members of Marillion for giving me a wealth of music to enjoy for the last 30 years. I just never considered them to be infallible, which is probably why I can enjoy this album on it's own terms. 3.5 stars.

 Marillion.com by MARILLION album cover Studio Album, 1999
3.15 | 410 ratings

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Marillion.com
Marillion Neo-Prog

Review by SteveG

4 stars Marillion, to me, are one of the few current era prog ensembles that still generates a type of magical sound due to the band's undeniable chemistry. Marillion.com, from 1999, like it's predecessor Radiation (from 1998), is a sorely unappreciated album that some how has been thrown into the scrap pile of of "band growing pains." This is quite odd to me, as if growth and stretching out were somehow incompatible with prog. But what type of growth? And exactly in which direction, please?

Well, that's the rub. Marillion got very influenced by late 20th century alternate rockers like Radiohead. Ah, you see? And alternate universes are always somehow unwanted, especially in rock music. But Marillion don't sound anything like Radiohead or other alt rockers from that era. They sound like, well, Marillion.

And that's chiefly because the band, after the epic album Brave, from 1994, has focused it's sound around Steve Hogarth's soul searing confessions and battles to face up to pain, disappointment and overcoming mistakes. Marillion has the magic to turn an emotional journey into something quite visceral. When Hogarth sings of pain, the band play the pain (on Go!), or nightmares and regret (Interior Lulu) or even brief moments of joy and celebrations of life (the magnificent Tumble Down The Years). Oddly, despite the album's title and cover art, there's little mention of the Internet by Hogarth, except to ask if the we're really "connected" to one another through the marvel of social media.

But the trick with Marillion.com is that you have to be receptive to it. Beneath some of album's catchy songs (like Deserve with it's faux Motown horn climax and near continuous shaking tambourines and hand claps) are some of Hogarth's most disturbing and almost preachy lyrics, since the album Brave. However, there are no continuous spiraling epics with climatic guitar solos like on Brave's The Great Escape. And that's the real beauty of Marillion.com. You can focus on either the music, which is at times upbeat or nightmarish (Interior Lulu is a moody slow paced song that jet propels instantly into some kind of insane ELP-like Karnevil 9 overdrive in the song's mid section) or you can be brave and just focus on the lyrics. And if you do the later, the music will come across as something very different than alternate rock.

It will, by God, be exactly what it was intended to be. Shear magical Marillion. So enjoy, or learn, or be moved by it. You very brave soul.

And, for the record, Marillion.com, beautifully recorded, features one of the finest sound mixes that I've heard in quite a long time. Something sorely lacking in Radiation, which helped to drive down the listening value of that album for many people, myself included.

 Brave by MARILLION album cover Studio Album, 1994
3.97 | 877 ratings

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Brave
Marillion Neo-Prog

Review by BunBun

2 stars Being such a Genesis fan, I decided to give several Marillion albums a listen after reading all the comparisons with the former band. I know those comparisons mostly extend to the Fish-era albums, but after leaving those albums disappointed, I figured I'd give H a chance. I decided to stick to his two highest rated albums which includes this album and Marbles. I gotta say, what a disappointment and believe me, I tried. I first listened to this album about a year ago when I was listening to Marillion for about a month. I gave them such a chance because 1) they are inspired by Genesis 2) they have a serious following who will pre-purchase their albums before they're made, travel around the world to spend a weekend with their group, and fund their tours and still pay for the tickets. Anyways, onto the actual album. Well, I decided to give this album one last chance today, as well as the band. The only thing prog about this album seems to be the concept. This is a story about a girl who has all these issues and gradually becomes more suicidal until she ends it (or not, depending on how you interpret it). Anyways, Marillion has always been one downer of a band. I mean, just look at all their album cover art. I mean it is all dark. I don't particularly like dark music, but hey, I enjoy my VDGG every now and then so why not Marillion. Well, this album is plain boring. Apparently the band thinks it is best to listen to this in a room with the lights off and headphones on? Sheesh, how can I stay awake? Hogarth is a competent singer, he certainly isn't bad but his vocals aren't very striking either. Sometimes I tune his vocals out without even trying and I still haven't quite followed the story either because it is a struggle to say focused on the album and the lyrics Hogarth sings. I'll listen to this and start doing something and then I'm on the 5th track and I wonder what happened to the three in between. The band switches between soft moments with minimalistic guitar noises and ambience to hard rocking tunes and then back to soft then hard. I forget about the soft moments and then the hard rocking moments help remind that the album is still on like the track "Hard as Love." The problem is that even these hard bits still bore and do nothing for me. Hogarth also sounds rather depressed throughout the album. Their is very little changes in anything and I can't tell when a song ends and the other begins. While Fish-era albums relied on complex time signatures, Hogarth-era albums have gone the "less is more" route. Most of these songs are simple pop songs and little changes, and none of the songs are truly catchy or memorable. This is just the same old, life can suck that this bands seems to like to stress. And that is the biggest problem I have with this album and the band, I have very little fun listening to them, and I sometimes wonder if it can be all that fun singing about such dark topics? for every single song.
 Seasons End by MARILLION album cover Studio Album, 1989
3.76 | 740 ratings

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Seasons End
Marillion Neo-Prog

Review by CapnBearbossa

4 stars After their ostentatious lyricist and lead singer ("Fish" aka Derek W. Dick) jumped ship, Marillion were left to pick up the pieces and reassemble them meaningfully, and that they did but good! Using some of the music they had written while Fish was still in the band, they took on new boy Steve Hogarth, rewrote the libretto, and discovered their second wind.

This is a wonderful set of songs if not quite picking up where Marillion left off stylistically under Fish's influence. Highlights of "Season's End" include the title track -- addressing climate change when hardly anyone was thinking about it yet -- and "King Of Sunset Town" which goes from utterly quiet, adding instruments subtly and gradually into the mix, until an incredible cathartic mid-section and end is reached. "H" has arrived....

But there is also "Easter," a powerful vocal and instrumental tour-de-force from the band (in this case with echoes of Irish folk music) that transports me to a place of such ecstasy that I'd swear I am rolling in four-leaf clover; and it boasts one of the most gorgeous, lyrical guitar solos ever from Steve Rothery. The remaining songs are just fine: Marillion would go on to do better things, but this shows that the group retained all of the talent and spirit they had prior to the split with Fish. This album is a musical documentary of a group in transition, and essential for those who dig the "h" era of Marillion.

 B'Sides Themselves by MARILLION album cover Boxset/Compilation, 1988
3.44 | 173 ratings

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B'Sides Themselves
Marillion Neo-Prog

Review by Modrigue
Prog Reviewer

3 stars One word: Grendel

Released in 1988, "B'Sides Themselves" is technically the last MARILLION record featuring Fish. This compilation contains songs from 1982-1987 not previously released on the four LPs: B-sides available on EPs only and reworked versions of the band's first EP "Market Square Heroes". A piece of all these EPs are shown on the cover art. Now, how does it compare to their studio albums?

The first half of the record is the main interest, mainly due to the 17 minutes long epic suite "Grendel". A masterpiece, however controversial, as it reuses at minute 13 a passage from GENESIS' "Supper's Ready". This was the main reason why MARILLION were accused of being a copycat of their British elder brothers. This said, the rest of the track marks his difference and possesses his own identity. To sum up, it simply contains the best the neo-progressive genre has to offer: melancholic passages, calm and epic rock moments, fantasy keyboards, powerful progression, it will transport into you a colorful magical world! Furthermore, the medieval guitar introduction is beautiful. So I find the plagiarism accusation a bit exaggerated. One of MARILLION's greatest compositions, and also one of the best neo-pogressive songs! It's a pity Fish and co. hadn't composed a track this ambitious after... Anyway, the renaissance of fairytale prog has begun...

On the contrary, "Charting The Single" is quite insipid with its awful drum sound. Despite its dated synthesizer sound, "Market Square Heroes" is quite energetic and catchy. "Three Boats Down From The Candy" is enjoyable but more uneven, the most interesting passage being the powerful ending guitar section. These two songs were initially recorded for the band's first EP in 1982, "Market Square Heroes", which already unveils a glimpse of the band's creativity. Nonetheless, the tracks on this compilation are in fact the reworked B-Sides versions from the 1984 EP "Punch and Judy". Also unequal, "Cinderella Search" features a few changes and has punchy hard rock finale.

The second half of the record is a little less inspired. "Lady Nina" and "Freaks" are soapy 80's pop, which does not really comes as a surprise as they were recorded the same year as their consensual LP "Misplaced Childhood". "Tux On" is an efficient eighties rock with a crying guitar solo, whereas the live "Margaret" is a long jam based on a rock version of "Scotland the Brave". It even contains a small passage from EDWARD GRIEG's "In the Hall of the Mountain King" in "Peer Gynt". Fun, but a bit lengthy.

Although uneven, "B'Sides Themselves" is an interesting compilation, as it features the epic "Grendel". The true weak parts are mostly the 1985 tracks, recorded during the commercial period of the Fish-era. Compare to their studio albums, the other tracks are overall less ambitious and magical, but nonetheless quite nice and rocking. Anyway, they're better than the weak tracks of the studio albums.

"B'Sides Themselves" is essential for fans of MARILLION's first years with Fish. "Grendel" is also a good entry point for those wanting to discover neo-prog. A little gem...

Thanks to ProgLucky for the artist addition. and to [email protected] for the last updates

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