SCRIPT FOR A JESTER'S TEAR

'Script for a Jester's Tear' is the debut album from Marillion, and is arguably one of the greatest debut albums of all time. There is a Genesis influence but it's not as apparent with Marillion as it is for other neo-prog bands like IQ. Funnily, Marillion's influence would imbue the sound of other bands that spawned from the neo-prog movement in the eighties and nineties, as Marillion were pioneers of the genre in a way. I find that neo-prog is less challenging and more accessible than prog from the seventies, and this album captures that difference. Derek Dick, known under the pseudonym "Fish," was a larger-than-life character on stage and, in the early days of Marillion, wore makeup like Peter Gabriel of Genesis did. His lyrics are poetic and clever. Progressive rock died a slow and painful death during the latter half of the seventies and became unfashionable by the time the eighties arrived. Marillion were the most notable band of the second wave of progressive rock to rekindle that flame. The eighties saw the peak of Marillion's success. This is the only album to feature Mick Pointer on drums, who would later go on to form Arena. He is no Ian Mosley, though I will say, his drumming on the Arena records are far better than on 'Script for a Jester's Tear.'

The title track is one of my favorite Marillion songs and possibly my favorite song of the Fish-era. It starts dramatically with piano and vocals. Guitar and bass is added as the song progresses. Drums augment the grandiosity of the piece. All the instruments are interlocked in one rhythm as Fish sings over it. Steve Rothery plays magnificent guitar solos in the first half. At the midpoint, the song quietens and arpeggios are played on an acoustic guitar. Bass and kick drum pulsate in sync with each other, adding tension to this section. The coda is beautiful. Keyboards that have the timbre of a harpsichord play arpeggios and lead guitar soloing complement Fish's vocals. The title track is a spectacular opener to a spectacular album. "He Knows You Know" may be the shortest song on the album, but should not be overlooked. An interesting guitar riff provides a strong foundation for the rest of the instrumentation to build on. At one point, the song subdues leaving only synths and vocals. Then, the band returns as the music leads into a splendid Mark Kelly keyboard solo which at first is at the forefront and the supports Steve Rothery's guitar solo which is played over the keyboards. The lyrics are about drugs and the music reflects that concept through a dark atmosphere. The musical phrase during the beginning of "The Web" starts with a descending chord progression and ends with an ascending scale run on the keyboard, providing a satisfying dichotomy. Guitar arpeggios create quiet verses which juxtaposes the choruses. I like the way Fish whispers during the second verse; he's a theatrical performer. This song contains an outstanding Mark Kelly keyboard solo which leads into a shredding Steve Rothery guitar solo. What I love about Steve Rothery's guitar solos is that he can shred while still playing melodically, and he manages to find a good balance between the two styles of soloing. The rhythm changes, making his guitar solo more exciting. Eventually, the rhythm section plays the standard pattern at the end of the solo. The coda features exceptional Mark Kelly synth work and a great Pete Trewavas bassline.

"Garden Party" starts with synth arpeggios which form the basis for the rest of the band to play on top of. Pete Trewavas' bassline is bouncy. Whenever I listen to this song, I can't help but smile. This song ebbs and flows perfectly, making each moment feel energized. It has so much energy it's infectious, especially when performed live. Enormous organ chords lead into a rapid Mark Kelly keyboard solo. I love the interplay between the keyboards and the guitar. I also love when the instrumentation plays a rhythm, and when there's a rest, Fish sings over it. It gives that part of the song a call-and-response effect. "Chelsea Monday" starts with a great Pete Trewavas bassline, providing a strong foundation. Sliding guitars adorn Fish's vocals. The drum beat is simple but effective. The song then explodes into a roaring Steve Rothery guitar solo, which is in my opinion one of his best of this period. Once the solo ends, the song comes subdues, and out from the rubble comes guitar arpeggios and Fish's vocals. Bass, drums, and organ augment the music as it crescendos into another great guitar solo. The song ends with guitar arpeggios and vocals that whisper the words, "She was only dreaming." "Forgotten Sons" starts with the sound of someone flicking through radio stations, one of which happens to be playing "Market Square Heroes," which was the title track on Marillion's debut EP. The song starts with a bouncy rhythm section and a Steve Rothery solo, accompanied by an riveting keyboard melodic sequence. Then, the instruments stop playing and all that's left is a rock guitar riff and spoken words from Fish and a man. Both voices are heard from opposite sides. The band join in with colorful guitar bends which embellish the synth melodies. The band stops playing again, except this time all that's left is bass. All of a sudden, snare rolls, guitar chords, and epic synth chords accompany Fish's lyrics. The coda contains impressive lead guitar and is an awe-inspiring ending to not only the song, but the album.

In conclusion, 'Script for a Jester's Tear' is a masterpiece, especially considering that this is Marillion's debut album. This album was arguably the impetus for the neo-prog movement, which is a contentious sub-genre of prog. Some people find it derivative of seventies progressive rock. For the most part, I've always subscribed to the notion that good music is good music, and Marillion's music is extraordinary. 'Script for a Jester's Tear' proved to the world that progressive rock was not dead. I love this album dearly.