SCRIPT FOR A JESTER'S TEAR

The start of the best and most talented Neo Prog band ever is this album, an excellent effort that seduced and fascinated many progressive rock fans. "Script For A Jester's Tear" is today considered the best and most important album of the genre, even though it has a very strong competitor, the band's third album, "Misplaced Childhood", which is in my opinion their greatest masterpiece. In fact, frankly speaking, I find this album a bit overrated, even though there are some moments and songs that are in my opinion worth the listen and rightfully acclaimed, like the wonderful title track, a tour de force of the band.

With my surprise, in this album I found less Genesis like vocals, but more Genesis like instrumentation, very enjoyable at times, mixed with the heavy synth 80's moods, a unique element in Marillion (Fish era) music. Some parts are even influenced by melodic and cheesy like pop of the time, even though there is always a great original touch to it.

Many consider this the best Neo Prog album because it contains in the most quintessential way one f the most interesting and fascinating themes of this genre: the theater, great medieval courts and halls, Jesters, minstrels. I'm not sure if the lyrics concern exactly these subjects, but I always feel like I'm in another world, medieval times, when I listen to Marillion and in particular this album.

The first three songs are incredible: the title track is a bomb, with beautiful melodies, delicate at times while in others epic sounding and haunting like few other Marillion songs. "He Knows You Know" is another gem, a great melodic piece with some great moments by Fish, and a surprisingly good work from the backup vocals. "The Web" is the song that has the most epic taste, thanks to the haunting and appealing melody, which reminds of Medieval pieces, thanks also to some great passages and to the length of the track, almost nine minutes.

From here it goes downhill: "Garden Party" has some nice moments, but it isn't exactly a great song, since it has it's weaknesses, and "Chelsea Monday" has some really goos moments and passages, but overall it never really convinced me. Finally, "Forgotten Sons" is definitely the weakest track off this album, long, boring, repetitive and easily forgettable.

As a conclusion, I would consider this easily an excellent addiction to any progressive rock fan, but definitely won't consider this an essential masterpiece, since, like I said earlier, it has it's weak moments.