HAPPINESS IS THE ROAD

I fail to understand, as a Marillion fan, why the constant references to Marillion's past seem to act as a means on which to judge their newer works. Especially given that these songs are musically far more interesting to me than anything from the so-called sacred cow, 'Script for a Jester's Tear'. The simple fact that there are more chords, more melodic invention, and more musical technique on the first two cuts on this record than there is on 'Chelsea Monday', 'Forgotten Sons' or 'He Knows, You Know'. Marillion's original method of constructing songs in three parts has long since been consigned to the bin. A song exists in it's own sphere for as long as it needs before moving on. I don't call that mainstream - if it were they'd be much bigger. They still play with atmosphere, they still write existentially, they just don't sound like Genesis.

This album is quite touching, and has some moments of true greatness, Asylum Satellite, Real Tears and the title track standing out. But the whole first disc runs as a single piece to me, and is truly successful. The second disc could probably do without a couple of tracks, particularly the ones after Asylum Satellite which are fairly pedestrian - nice, but not blindingly good.

It's a wonderful sounding record, too. I find it a wonderful journey and vehemently defend it as a valid piece of work. If you can see past 1987, I'd certainly recommend it.