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MARILLION

Neo-Prog • United Kingdom


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Marillion picture
Marillion biography
Formed in 1979 in Aylesbury, England under the name Silmarillion, named after the Tolkien novel.

Pioneers of the second wave of progressive rock

The Early Years

After some early line-up changes, the first recognisable incarnation of the band was complete by 1982, with FISH (real name Derek William Dick), a charismatic Scottish frontman vocalist, Steve ROTHERY on guitars, Peter Trewavas on bass, Mark Kelly on keyboards, and Mick Pointer on drums.

The band built their reputation the old-fashioned way by gigging extensively, but their profile was also raised by some clever manipulation of the music press, especially journals such as Sounds, in which Fish often interviewed his proposition that the band were "prog with attitude", a new force for the post-punk era.

This profile landed them a record deal with EMI records, and, in 1982, they released an EP Market Square Heroes, which, it is fair to say, had more than a passing resemblance to the Genesis classic, The Knife. Also appearing was a monster prog track called Grendel.

However, it was the release in 1983 of their debut long player, Script For A Jester's Tear, which brought them to the wider attention of the rock world. The album spawned hit singles in Garden Party and He Knows You Know, was critically well received, and reached number 7 in the UK album charts.

The band's progress and workload were relentless after this point. They proved themselves to be somewhat merciless in the pursuit of musical and commercial success by ditching Pointer, who was felt to be sub-standard, and replacing him eventually with, after what the band described as their "Spinal Tap" period for drumming, Ian Mosley, formerly of The Steve Hackett Band. Pointer went on to jointly form Arena, a classic neo outfit who still record today, and still tours his Script era version of Marillion. The difference Mosley made, though, both live and in the studio, was palpable.

The line-up released three more albums; Fugazi, Misplaced Childhood, and, finally Clutching At Straws.

Misplaced Childhood was a massive hit, reaching number 1 in the UK charts in 1985, and responsible for huge hit singles in Kayleigh, Lavender, and Heart of Lothian. By this time, Fish had ditched his trademark face paint, - the music and his sheer personality were a tour de force in themselve...
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MARILLION Videos (YouTube and more)


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Buy MARILLION Music


Clutching At Straws (Deluxe Edition)(4CD/1Blu-ray Boxset)Clutching At Straws (Deluxe Edition)(4CD/1Blu-ray Boxset)
Box set · Deluxe Edition
Rhino/Parlophone 2018
$38.35
$29.99 (used)
Marbles ( 2 CD )Marbles ( 2 CD )
MADFISH 2017
$9.08
$5.49 (used)
Script For a Jester's TearScript For a Jester's Tear
Extra tracks · Remastered · Special Edition
Caroline 2008
$16.14
$6.38 (used)
All One Tonight (Live At The Royal Albert Hall) [Blu-ray]All One Tonight (Live At The Royal Albert Hall) [Blu-ray]
EARMUSIC 2018
$15.06
$20.54 (used)
Thieving Magpie [ La Gazza Ladra ] [Remastered]Thieving Magpie [ La Gazza Ladra ] [Remastered]
Remastered
Emd Int'L 2009
$9.70
$8.34 (used)
Mirrors (Live)Mirrors (Live)
EARMUSIC 2018
$8.13
$14.06 (used)
All One Tonight (Live At The Royal Albert Hall)All One Tonight (Live At The Royal Albert Hall)
Explicit Lyrics
EARMUSIC 2018
$14.19
$12.99 (used)
F. E. A. R.F. E. A. R.
EARMUSIC 2018
$8.91
$4.85 (used)
Holidays In Eden (Live)Holidays In Eden (Live)
EARMUSIC 2018
$18.00
$25.25 (used)
Misplaced ChildhoodMisplaced Childhood
EMI Import 2013
$24.97 (used)
Right Now on Ebay (logo)
Marillion Sympathy/Kayleigh 12" 33RPM Picture Disc IMPORT UK EMI 12MARILPD16 USD $17.95 Buy It Now
MARILLION - Seasons End - Cassette Tape USD $10.16 Buy It Now
This Strange Engine [VINYL], Marillion, Vinyl, New, FREE & Fast Delivery USD $40.90 Buy It Now
Marillion/Clutching at Straws (Emi / Cdp 7 46866 2)CD Album USD $14.58 Buy It Now
Marillion - Radiation - Marillion CD ELVG The Fast Free Shipping USD $5.85 Buy It Now
MARILLION THE BEST OF BOTH WORLDS RARE NEW SEALED 2 X CD! USD $23.71 Buy It Now
Marillion - Clutching At Straws (CD) USD $15.85 Buy It Now
2 Page MARILLION Magazine PHOTO FEATURE! 1984 USD $3.19 Buy It Now
Marillion - Clutching At Straws (LP) USD $44.64 Buy It Now
Marillion: Marquee '83 USD $149.99 [0 bids]
Progressive Rock Anthems CD V/A sealed new Marillion Rick Wakeman YES USD $2.99 Buy It Now
MARILLION - F E A R - CD - NEW USD $15.98 Buy It Now
Marillion misplaced childhood - Cassette Tape USD $13.53 Buy It Now
MARILLION LIVING IN F E A R [EP] * NEW VINYL USD $20.35 Buy It Now
Superhit Classics 1 : Marillion, Babys, Al Stewart, Gerry Raff CD USD $4.26 Buy It Now
MARILLION - REAL TO REEL 1984 TOUR PROGRAMME USD $24.54 Buy It Now
MARILLION *** Mables *** VERY RARE 2004 UK PROMO CD USD $19.99 Buy It Now
MARILLION - GARDEN PARTY - RARE 7" SHAPED PICTURE DISC - BENT KNIFE USD $20.85 [0 bids]
19m 25s
MARILLION INCOMMUNICADO PICTURE DISC 12 INCH USD $12.26 [0 bids]
21m 19s
Fish/State Of Mind/1989 EMI Picture Disc 12" Single/Marillion USD $30.67 Buy It Now 34m 22s
Marillion - Seasons End (LP, Album, Gatefold) Vinyl V.G.C. USD $18.41 [0 bids]
46m 46s
Marillion* - Real To Reel LP. 12" Vinyl UK 1984 Fame Reissue - Rock/Prog USD $3.67 Buy It Now 1h 23m
Marillion Cover My Eyes Vinyl With Poster USD $2.21 [0 bids]
1h 46m
7" Single 45rpm Marillion Heart Of Lothian USD $1.47 Buy It Now 2h 21m
Marillion - Fugazi 1984 EMI EMC 24 00851 Vinyl LP Album USD $18.40 [0 bids]
2h 22m
Marbles In The Park, Marillion, Audio CD, New, FREE & Fast Delivery USD $11.32 Buy It Now 2h 29m
Marbles In The Park [VINYL], Marillion, Vinyl, New, FREE & Fast Delivery USD $48.69 Buy It Now 2h 30m
MARILLION - Easter - 1990 Magazine Advertisment Poster USD $5.52 Buy It Now 2h 36m
Heart Of Lothian - Solid Marillion 7" vinyl single record UK MARIL5 EMI 1985 USD $12.20 Buy It Now 2h 36m
Marillion Sugar Mice - Injection UK 7" vinyl single record MARIL7 EMI 1987 USD $13.44 Buy It Now 2h 43m
Market Square Heroes + P/S Marillion 7" vinyl single record UK EMI5351 EMI USD $15.90 Buy It Now 2h 46m
Garden Party Marillion UK 12" vinyl single record (Maxi) 12EMIS5393 EMI 1983 USD $19.58 Buy It Now 2h 46m
Marillion 7" vinyl single record Punch & Judy + Sleeve UK MARIL1 EMI 1984 USD $14.66 Buy It Now 2h 46m
Marillion He Knows You Know UK 7" vinyl single record EMI5362 EMI 1983 USD $13.44 Buy It Now 2h 46m
MARILLION - MAGAZINE POSTER/CUTTINGS COLLECTION (REF X13F) USD $8.53 Buy It Now 2h 58m
MARILLION - MAGAZINE CUTTINGS COLLECTION (REF 1) USD $8.53 Buy It Now 2h 58m
MARILLION - MAGAZINE CUTTINGS COLLECTION (REF 3E) USD $8.53 Buy It Now 2h 58m
MARILLION (FISH ERA) - MAGAZINE CUTTINGS COLLECTION (REF S3) USD $8.53 Buy It Now 2h 58m
Marillion/Holidays in Eden (Emi Cdp 796822 2)CD Album USD $14.54 Buy It Now 3h 4m
MARILLION SEASONS END CASSETTE 1989 TCEMD1011 USD $4.30 Buy It Now 3h 19m
Marillion ?- Lavender Label: EMI Records MARIL 4 UK 7inch Vinyl 45 Single USD $18.37 Buy It Now 3h 38m
Incommunicado Marillion 12" vinyl picture disc record UK 12MARILP6 EMI 1987 USD $23.26 Buy It Now 3h 41m
Real To Reel Marillion UK picture disc LP vinyl album record JESTP1 EMI 1984 USD $45.05 Buy It Now 3h 41m
MARILLION kayleigh 12 MARIL 3 uk emi 1985 12" PS EX/EX USD $12.26 Buy It Now 3h 48m
Marillion Real To Reel vinyl LP album record UK JEST1 EMI 1984 USD $17.12 Buy It Now 3h 53m
MARILLION sugar mice/tux on MARIL 7 uk emi 1987 7" PS EX/EX USD $8.58 Buy It Now 4h 7m
MARILLION Cover My Eyes [Pain And Heaven] 1991 UK 12" vinyl single + POSTER a USD $9.81 Buy It Now 4h 8m
Marillion : Lavender : 7" Vinyl : 1985 USD $2.64 Buy It Now 4h 9m
MARILLION Cover My Eyes [Pain And Heaven] 1991 UK 12" vinyl single + POSTER b USD $9.81 Buy It Now 4h 9m
MARILLION Garden Party Live 1986 German 3-track 12" EP 12" vinyl single EXCELLEN USD $24.54 Buy It Now 4h 15m
Marillion tour programme Fugazi Tour 84 - EX UK TOUR PROGRAMME BRAVADO 1984 USD $22.09 Buy It Now 4h 18m
MARILLION dry land 7" WS EX/ uk emi MARIL 15 USD $8.58 Buy It Now 4h 24m
Marillion 12" vinyl picture disc record No One Can UK 12MARILPD17 E.M.I. 1992 USD $23.26 Buy It Now 4h 25m
Marillion From Dusk 'til Dot Volume 1 - ReFracted! UK 2 CD album (Double CD) USD $67.82 Buy It Now 4h 26m
Marillion From Dusk 'til Dot Volume 4 - Caught ... 2 CD (Double CD) UK USD $67.82 Buy It Now 4h 26m
Brave (2018 Steven Wilson Re... Marillion UK 2-LP (Double ) USD $57.68 Buy It Now 4h 33m
Marillion Exclusive Mark Wilkinson Cover Art Calendar 1987 calendar Dutch USD $51.55 Buy It Now 4h 38m
Marillion Misplaced Childhood '85 + Attached Postcards/Flyer tour programme UK USD $38.30 Buy It Now 4h 38m
Misplaced Childhood 85 + Flexi Marillion UK tour programme TOUR PROGRAMME USD $38.30 Buy It Now 4h 38m
Marillion Clutching At Straws - Winter 1987-88 tour programme UK USD $32.16 Buy It Now 4h 38m
Warm Wet Circles Marillion 12" vinyl single record (Maxi) UK 12MARIL8 EMI 1987 USD $17.12 Buy It Now 4h 39m
Marillion Misplaced Childhood UK vinyl LP album record MRL2 EMI 1985 USD $23.26 Buy It Now 4h 41m
Incommunicado Marillion UK 7" vinyl single record MARIL6 EMI 1987 USD $12.20 Buy It Now 4h 43m
Assassing Marillion 7" vinyl single record UK MARIL2 EMI 1984 USD $13.44 Buy It Now 4h 43m
Marillion Assassing 12" Single Vinyl Record 12MARIL2 1984 UK Cinderella Search USD $7.35 Buy It Now 4h 50m
MARILLION Incommunicado 12" VINYL 3 Track Album Mix B/w Alternative Mix And Go USD $6.12 Buy It Now 4h 54m
Marillion Afraid of Sunlight preview party 1995 t-shirt black as new size XL USD $36.82 [0 bids]
4h 55m
Marillion Dry Land 1991 [10MARIL15] Clear 10" Vinyl Rock USD $11.05 Buy It Now 4h 56m
Marillion Less Is More CD album (CDLP) German 0200602ERE EARMUSIC 2009 USD $17.80 Buy It Now 4h 59m
Marillion 7" vinyl single record Kayleigh UK MARIL3 EMI 1985 USD $13.44 Buy It Now 4h 59m
MARILLION He Knows You Know 7" VINYL 4 Prong Yellow Paper Label Design B/w Cha USD $6.12 Buy It Now 5h
Marillion 12" vinyl single record (Maxi) Kayleigh UK 12MARIL3 EMI 1985 USD $14.67 Buy It Now 5h 3m
Marillion - Live From Loreley [CD] USD $13.62 Buy It Now 5h 23m
Marillion - The Best Of Both Worlds [CD] USD $13.62 Buy It Now 5h 23m
MARILLION All One Tonight (Live) Vinyl 4LP New (UK) 2018 USD $45.99 Buy It Now 5h 25m
MARILLION MISPLACED CHILDHOOD CD RIMO RADIO DJ PROMOTIONAL MADE IN BRAZIL 2017 USD $44.99 Buy It Now 5h 30m
MARILLION - Seasons End KOREA LP. Rare NEW,SEALED LP USD $45.00 Buy It Now 5h 31m
Marillion 2013 Copy Vinyl Record LP Sealed USD $7.86 [1 bids]
5h 38m
Marillion , Lavender Vinyl Record *USED* USD $24.49 Buy It Now 5h 40m
Marillion , Heart Of Lothian Vinyl Record *USED* USD $22.03 Buy It Now 5h 40m
Marillion-All One Tonight(Live (UK IMPORT) BLU-RAY NEW USD $18.08 Buy It Now 5h 57m
Marillion-All One Tonight(Live (UK IMPORT) BLU-RAY NEW USD $18.62 Buy It Now 6h
Marillion Fear Steve Rothery The Wishing Tree Steve Hogarth How We Live Neo-Prog USD $8.58 [0 bids]
6h 2m
MARILLION Rare 1985 Australian Promo / Demo : - KAYLEIGH/ LADY NINA 1985 USD $30.45 Buy It Now 6h 2m
Marillion Holidays in Eden Vinyl Album Signed Promo USD $214.80 [0 bids]
6h 5m
Z -MARILLION-FUGAZI- UK LP-NM-1984- - USD $4.90 [0 bids]
6h 15m
Z -MARILLION-REAL TO REEL- UK LP-NM-1984- - USD $6.12 [0 bids]
6h 15m
PALLAS PARIS IS BURNING 7" Single Marillion Genesis USD $1.22 Buy It Now 6h 52m
MARILLION SEASONS END CD MADE IN BRAZIL 1st PRESSING 1989 WITHOUT BARCODE USD $44.99 Buy It Now 6h 59m
Marillion / Clutching At Straws JAPAN CP32-5449 3200YEN 1ST PRESS Rare!!!!! A USD $79.99 Buy It Now 7h 3m
EX/EX! MARILLION REAL TO REEL VINYL LP PICTURE PIC DISC USD $29.45 Buy It Now 7h 10m
Marillion / Brave JAPAN TOCP-8186 A9 USD $19.99 Buy It Now 7h 12m
Marillion Real To Reel LP Album Vinyl Record FA4131421 A2U/B1U Rock 80's USD $14.70 Buy It Now 7h 20m
Hard Rock Hell Mag Vol 1 Airbourne Def Leppard Marillion Blackberry Smoke Evile USD $3.68 [0 bids]
7h 23m
FISH BIG WEDGE PIC DISC 1989 marillion UK LTD ED USD $14.72 [0 bids]
7h 41m
Marillion ?- Freaks (Live)/Kayleigh (Live) (7") (VG-/VG-) USD $4.90 Buy It Now 7h 51m
Marillion - Kayleigh (Vinyl) USD $39.27 Buy It Now 7h 53m
Marillion - Warm Wet Circles (Remix) (Vinyl) USD $16.56 Buy It Now 7h 53m
Marillion ?- Garden Party (7") (VG+/VG-) USD $7.35 Buy It Now 7h 54m
Marillion ?- Hooks In You (7") (VG-EX/VG+) USD $6.12 Buy It Now 7h 55m

More places to buy MARILLION music online Buy MARILLION & Prog Rock Digital Music online:

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)

4.23 | 1946 ratings
Script For A Jester's Tear
1983
3.97 | 1300 ratings
Fugazi
1984
4.25 | 2067 ratings
Misplaced Childhood
1985
4.16 | 1288 ratings
Clutching At Straws
1987
3.75 | 845 ratings
Seasons End
1989
3.12 | 635 ratings
Holidays In Eden
1991
3.98 | 1013 ratings
Brave
1994
3.79 | 682 ratings
Afraid Of Sunlight
1995
3.41 | 551 ratings
This Strange Engine
1997
2.69 | 498 ratings
Radiation
1998
3.11 | 469 ratings
Marillion.com
1999
3.36 | 534 ratings
Anoraknophobia
2001
4.09 | 1050 ratings
Marbles
2004
3.03 | 516 ratings
Somewhere Else
2007
3.33 | 553 ratings
Happiness Is The Road
2008
2.77 | 345 ratings
Less Is More
2009
3.57 | 597 ratings
Sounds That Can't Be Made
2012
3.71 | 311 ratings
F E A R (F*** Everyone And Run)
2016

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

3.84 | 304 ratings
Real to Reel
1984
3.85 | 307 ratings
The Thieving Magpie - La Gazza Ladra
1988
2.33 | 29 ratings
Live at the Borderline
1992
3.29 | 32 ratings
Live in Glasgow
1993
3.54 | 48 ratings
Live in Caracas
1993
4.09 | 93 ratings
Live From Loreley
1995
3.43 | 143 ratings
Made Again
1996
3.55 | 62 ratings
Live At The Walls
1998
3.65 | 38 ratings
Piston Broke
1998
3.17 | 26 ratings
Marillionrochester
1998
3.16 | 33 ratings
Zodiac
1999
3.69 | 75 ratings
Anorak in the UK Live
2002
4.06 | 45 ratings
Brave Live 2002
2003
3.45 | 14 ratings
Christmas In The Chapel
2003
4.50 | 48 ratings
Curtain Call - A Live Archive 1983 - 1988
2004
4.16 | 99 ratings
Marbles Live
2005
3.95 | 51 ratings
Marbles By The Sea
2005
3.50 | 38 ratings
Popular Music
2005
3.45 | 14 ratings
Bootleg Bingo
2005
3.59 | 33 ratings
Smoke
2006
3.79 | 39 ratings
Mirrors
2006
3.99 | 51 ratings
Family
2007
3.64 | 39 ratings
Friends
2007
3.80 | 30 ratings
Somewhere In London
2007
4.46 | 96 ratings
Early Stages: The Official Bootlegs 1982-1987
2008
4.41 | 104 ratings
Recital of the Script
2009
4.26 | 99 ratings
Live From Loreley
2009
3.74 | 27 ratings
Happiness Is Cologne
2009
3.67 | 26 ratings
High Voltage
2010
3.81 | 45 ratings
The Official Bootleg Box Set Vol. 2
2010
3.66 | 45 ratings
Tumbling Down The Years
2010
4.06 | 43 ratings
size matters
2010
3.84 | 26 ratings
Live In Montréal // Saturday
2010
3.86 | 25 ratings
Live In Montréal // Sunday
2010
3.79 | 24 ratings
Live In Montréal // Friday
2011
3.75 | 25 ratings
holidays in eden live
2011
3.90 | 46 ratings
Live From Cadogan Hall
2011
3.82 | 19 ratings
Afraid of Sunlight Live
2011
3.58 | 17 ratings
This Strange Engine Live
2011
3.74 | 20 ratings
Seasons End Live
2011
3.76 | 22 ratings
A-Z Live 2011
2012
3.89 | 38 ratings
Sounds Live
2012
3.77 | 20 ratings
The Glow Must Go On
2012
3.66 | 25 ratings
Clocks Already Ticking
2013
3.92 | 31 ratings
Brave Live 2013
2013
4.00 | 1 ratings
Best of Montréal
2013
3.00 | 1 ratings
Best of Leamington
2013
4.44 | 9 ratings
Live At The Forum
2014
4.64 | 22 ratings
Sunday Night Above The Rain
2014
3.71 | 7 ratings
A Monstrously Festive(al) Christmas
2015
4.60 | 15 ratings
Waves and Numb3rs
2016
4.43 | 19 ratings
Marbles In The Park
2016
4.56 | 16 ratings
Singles Night
2016
4.20 | 5 ratings
The Gold - Best of Convention 2017
2017
4.00 | 1 ratings
Live In Chile
2017
4.40 | 10 ratings
All One Tonight - Live at the Royal Albert Hall
2018
4.00 | 1 ratings
marillion.cl/viernes.noche
2019
4.00 | 1 ratings
marillion.cl/dotcom
2019
4.00 | 1 ratings
marillion.cl/en.marquee
2019

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

4.36 | 164 ratings
Recital Of The Script
1983
3.39 | 31 ratings
Video
1984
2.60 | 28 ratings
1982-86 The Videos
1986
3.72 | 32 ratings
A Singles Collection
1992
4.74 | 57 ratings
Brave Live 2002
2002
2.85 | 15 ratings
Shot In The Dark
2002
4.60 | 15 ratings
A Piss-up in a Brewery
2002
3.16 | 44 ratings
The EMI Singles Collection
2002
3.67 | 57 ratings
From Stoke Row To Ipanema - A Year In The Life (DVD)
2003
3.93 | 21 ratings
Christmas In The Chapel
2003
4.22 | 17 ratings
Before First Light (Afraid of Sunlight Live 2003)
2003
4.45 | 140 ratings
Live from Loreley
2004
3.98 | 72 ratings
Marbles On The Road
2004
2.76 | 48 ratings
Brave - The Film
2004
4.18 | 28 ratings
Wish You Were Here
2005
4.38 | 8 ratings
Colours And Sound
2006
4.21 | 57 ratings
Somewhere In London
2007
4.33 | 21 ratings
Bootleg Butlins
2007
3.74 | 10 ratings
Thank You Whoever You Are / Most Toys
2007
3.56 | 15 ratings
Something Else
2007
4.50 | 12 ratings
This Strange Convention
2009
4.60 | 5 ratings
M Tube: An Introduction To Marillion On DVD
2010
4.50 | 55 ratings
Out Of Season
2010
4.13 | 46 ratings
Live At Cadogan Hall
2011
4.67 | 24 ratings
Live In Montréal
2011
4.45 | 23 ratings
Holidays In Zelande
2012
4.00 | 27 ratings
Brave Live 2013
2013
5.00 | 5 ratings
A Sunday Night Above The Rain
2014
4.31 | 16 ratings
Breaking Records
2015
4.16 | 13 ratings
Out Of The Box
2016
4.78 | 9 ratings
Marbles in the Park
2016
4.62 | 13 ratings
All One Tonight
2018

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

3.49 | 195 ratings
B'Sides Themselves
1988
2.92 | 71 ratings
A Singles Collection - Six of One, Half a Dozen of the Other
1992
1.60 | 10 ratings
Marillion Music Collection
1993
4.12 | 14 ratings
The Originals
1995
2.99 | 40 ratings
Kayleigh
1996
4.25 | 8 ratings
The Best of Marillion
1996
4.00 | 1 ratings
Essential Collection
1996
3.32 | 49 ratings
The Best of Both Worlds (2 cd boxset)
1997
4.06 | 79 ratings
Real to Reel - Brief Encounter
1997
3.14 | 10 ratings
Kayleigh - The Essential Collection
1998
2.20 | 61 ratings
Marillion and the Positive Light - Tales from the Engine Room
1998
4.45 | 47 ratings
The singles '82 - 88'
2000
3.24 | 8 ratings
Refracted! - From dusk 'till dot, Volume 1
2001
3.57 | 7 ratings
Another DAT at the Office
2001
3.22 | 9 ratings
Fall Out
2002
3.19 | 17 ratings
marillion.co.uk
2002
3.21 | 9 ratings
AWOL: A Marillion Solo Projects Sampler
2002
3.51 | 29 ratings
The singles '89- 95'
2002
3.86 | 7 ratings
The Best Of Marillion (EMI Compilation)
2003
4.20 | 5 ratings
Warm Wet Circles
2003
3.29 | 12 ratings
marillion.co.uk (2005 Version)
2005
4.20 | 5 ratings
Classics
2009
4.50 | 2 ratings
Keep The Noise Down
2010
4.88 | 8 ratings
Misplaced Childhood / Script For A Jester's Tear
2011
4.60 | 5 ratings
4 Albums
2011
4.00 | 4 ratings
Greatest Hits On CD & DVD
2012
4.25 | 16 ratings
Marillion.Best.Live
2012
4.13 | 8 ratings
Sounds That Can't Be Made Special Edition
2013
5.00 | 1 ratings
5 Album Set
2013
4.12 | 8 ratings
Early Stages : The Highlights
2013
2.38 | 7 ratings
Best Sounds
2014
4.32 | 25 ratings
A Sunday Night Above the Rain
2014
2.92 | 12 ratings
A Collection Of Recycled Gifts
2014
4.45 | 23 ratings
Misplaced Childhood
2017
4.50 | 12 ratings
Brave (Deluxe Edition, Limited Edition)
2018
4.82 | 15 ratings
Clutching At Straws
2018

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

3.90 | 115 ratings
Market Square Heroes
1982
3.92 | 45 ratings
Garden Party
1983
4.18 | 43 ratings
He Knows You Know
1983
3.86 | 41 ratings
Punch and Judy
1984
3.64 | 57 ratings
Assassing
1984
3.33 | 55 ratings
Kayleigh
1985
4.14 | 7 ratings
The Story So Far...
1985
3.65 | 54 ratings
Lavender
1985
3.57 | 54 ratings
Heart of Lothian
1985
2.63 | 67 ratings
Brief Encounter
1986
4.10 | 12 ratings
Garden Party Live
1986
4.00 | 27 ratings
Lady Nina
1986
4.00 | 37 ratings
Sugar Mice
1987
3.68 | 34 ratings
Incommunicado
1987
3.91 | 35 ratings
Warm Wet Circles
1987
2.98 | 22 ratings
Incommunicado & Sugar Mice - Video
1987
4.04 | 25 ratings
Freaks
1988
3.65 | 20 ratings
Uninvited Guest
1989
4.19 | 26 ratings
Easter
1989
3.43 | 21 ratings
hooks in you
1989
3.20 | 21 ratings
No One Can
1991
3.08 | 13 ratings
Cover My Eyes (Pain And Heaven)
1991
3.09 | 11 ratings
Dry Land
1991
3.25 | 4 ratings
No One Can
1992
3.62 | 21 ratings
Sympathy
1992
3.45 | 23 ratings
Sympathy
1992
3.75 | 12 ratings
No One Can
1992
4.25 | 4 ratings
The Hollow Man
1994
4.17 | 6 ratings
The Hollow Man
1994
4.00 | 6 ratings
Alone Again In The Lap Of Luxury
1994
4.00 | 5 ratings
Alone Again In The Lap Of Luxury
1994
3.74 | 19 ratings
Beautiful
1995
2.84 | 19 ratings
Beautiful
1995
4.10 | 21 ratings
The Making of Brave
1995
4.00 | 17 ratings
Man of a Thousand Faces
1997
3.64 | 14 ratings
Eighty Days
1997
2.98 | 19 ratings
These Chains (Single)
1998
3.00 | 8 ratings
Marillion & the Web Christmas 1998
1998
3.33 | 9 ratings
Marillion.Christmas
1999
3.00 | 1 ratings
Rich
1999
2.77 | 14 ratings
Marillion.co.uk
2000
3.75 | 8 ratings
Crash Course - An Introduction to Marillion
2001
2.72 | 15 ratings
A Verry Barry Christmas
2001
4.23 | 13 ratings
Between You And Me / Map Of The World
2001
3.84 | 16 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
3.75 | 4 ratings
Christmas 2002: Santa And His Elvis
2002
3.00 | 1 ratings
Caught in the Net - The Making of Marillion.com
2002
4.06 | 9 ratings
Say Cheese, Christmas With Marillion
2003
4.00 | 1 ratings
View From The Balcony (A Front Row Club Sampler)
2003
3.00 | 8 ratings
Christmas 2004: Baubles
2004
2.14 | 11 ratings
Remixomatosis
2004
4.00 | 1 ratings
The Damage (Live)
2004
4.25 | 4 ratings
Christmas 2005 : Merry Xmas To Our Flock
2005
2.49 | 12 ratings
A Handful Of Marbles
2005
3.33 | 3 ratings
Unzipped - The Making Of Anoraknophobia
2006
4.00 | 3 ratings
Christmas 2006: The Jingle Book
2006
3.00 | 1 ratings
See It Like a Baby
2007
4.00 | 3 ratings
Christmas 2007: Somewhere Elf
2007
2.73 | 13 ratings
Thank You Whoever You Are
2007
3.15 | 11 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
4.00 | 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
3.50 | 8 ratings
Christmas 2008: Pudding On The Ritz
2008
3.00 | 1 ratings
Whatever Is Wrong with You
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
3.09 | 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
3.55 | 11 ratings
The Carol Of The Bells
2013
4.00 | 2 ratings
Christmas 2013: Proggin' Around The Christmas Tree
2013
4.00 | 4 ratings
Christmas 2014: Chile For The Time Of Year
2014
3.00 | 1 ratings
Glass Half Full - The Making of Marbles
2015
4.00 | 1 ratings
The New Kings
2016
0.00 | 0 ratings
Festivities, Elation And Rejoicing! Christmas 2016
2016
0.00 | 0 ratings
Christmas At The Club (Christmas 2017)
2017
3.78 | 9 ratings
Living In F E A R
2017
0.00 | 0 ratings
A Star in the East Live in Japan 2018 (Xmas 2018)
2018
3.00 | 1 ratings
Unsound
2018
3.00 | 1 ratings
Mr Taurus - The Making of Somewhere Else
2019
3.00 | 1 ratings
Satellite Navigation - The Making of Happiness Is the Road
2019

MARILLION Reviews


Showing last 10 reviews only
 The Originals by MARILLION album cover Boxset/Compilation, 1995
4.12 | 14 ratings

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The Originals
Marillion Neo-Prog

Review by VianaProghead
Prog Reviewer

4 stars Review Nº 264

"The Originals" is a very special compilation of Marillion and was released in 1995. This is a package that includes their three first studio albums, "Script For A Jester's Tear", released in 1983, "Fugazi", released in 1984, and "Misplaced Childhood", released in 1987. This is a very good and interesting compilation from the band because it includes practically all the studio albums from Fish era, with the exception of "Clutching At Straws", released in 1989.

"Script For A Jester's Tear", "Fugazi" and "Misplaced Childhood" are three fundamental albums of Marillion because they represent the beginning of the band and the neo-prog sub-genre. They are probably, the three best representatives of their music in Fish's era, and for many, like me, "Script For A Jester's Tear" and "Misplaced Childhood" are the two greatest masterpieces from the band. So, we are in presence of three great progressive rock albums from the 80's.

As I've already reviewed these three albums previously on Progarchives, in a more extensive way, I'm not going to do it again. So, if you are interested to know, in more detail, what I wrote about them before, I invite you to read those my three reviews. However, in here I'm going to write something about them in a more short way. So, of course, I'm not going to analyze them track by track, as I did before, but I'm only going to make a global appreciation of the albums.

"Script For A Jester's Tear": "Script For A Jester's Tear" was released after their fantastic EP "Market Square Heroes". It's commonly accepted that it's with "Misplaced Childhood" the two best studio albums released by the group in the music era of Fish. In a certain way it was as important as "In The Court Of The Crimson King" of King Crimson was for the progressive rock music in the 70's. It's true that in the summer of 1982 the punk explosion was gone but remained some echoes, a parade of a new romantic musical movement. So, when the music world seemed to be at the mercy of the new romantics, "Script For A Jester's Tear" represents a landmark and a breath of fresh air that progressive rock music, so needed at the time. We can even say that since "Script For A Jester's Tear" the world of progressive rock has raised again and no longer was the same. Somehow, it opened the doors to the boom of the progressive roc in the 90's.

"Fugazi": In relation to "Script For A Jester's Tear", "Fugazi" shows some musical differences. Marillion streamlined the intricacies of group's progressive rock leanings for a more straight ahead rock identity. Still, it remains clearly a Marillion's album. We even can say that, in a certain way, "Fugazi" remarks Marillion's consistency on their musical direction solidifying the group. Perhaps "Fugazi" is the weakest album of Marillion in Fish's era. But saying this, it seems like a sacrilege. Marillion has no weak albums in Fish's era. So, "Fugazi" is still a great piece of music. It's true that "Fugazi" has two tracks with musical quality below from the others, "Emerald Lies" and "She Chameleon". So, for that motif, "Fugazi" can't be considered a masterpiece, as happened with their preceding album "Script For A Jester's Tear" and their following album "Misplaced Childhood". But, "Fugazi" remains, for me and without any doubt, a great piece of music. "Fugazi" is an excellent album that can be recommended to all progressive rock fans, just simply if you don't compare it, too much, with the previous one, because there's music here for every progressive rock fan to love.

"Misplaced Childhood": "Misplaced Childhood" is a conceptual album, the first conceptual album released by the group. With its lush production and mix, this album became the greatest commercial triumph of the band, especially in Europe where the group raised the peak of their fame and became known as one of the most famous progressive rock bands in the world. The album featured also the most successful single of the group, "Kayleigh". "Lavender" was another song that was also released as a single and it was also a great commercial success. Besides, it's their most commercially successful album. "Misplaced Childhood" is, for many, their best studio album, either. Even Mike Portnoy considered it the best Marillion's album of all time. With "Misplaced Childhood", Marillion proved they weren't a clone of Genesis and with it they reached the status of be considered one of the best progressive rock bands in the world.

Conclusion: If you have already these three studio albums you don't need to buy this compilation. Despite the box comes in a special miniature double album's sleeve, it hasn't practically anything new to offer, like bonus tracks. However, if you don't have these three albums yet, this is an excellent alternative for buying these albums. By the other hand, if you are a hard fan of the group, this is a rarity and certainly it would be a truly delight for you as a complement of your progressive rock collection. But if you don't have these albums already, it's urgent to buy all the three. These three albums represent some of the best progressive rock pages written in the 80's. When the times were against the progressive rock music bands, which would later be called neo-prog bands such as Marillion, IQ and Pendragon, it was very importants for the spirit of prog. So, these three albums made part of some of the best prog, made in those times.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Clutching At Straws by MARILLION album cover Studio Album, 1987
4.16 | 1288 ratings

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Clutching At Straws
Marillion Neo-Prog

Review by VianaProghead
Prog Reviewer

4 stars Review Nº 262

"Clutching At Straws" is the fourth studio album of Marillion and was released in 1987. Like their previous third studio album "Misplaced Childhood", "Clutching At Straws" is a conceptual album and the last studio album with the participation of their former member and front man Derek Dick "Fish", who left the band in 1988 to pursue a solo career.

Written and conceived during a period of time of inner great turmoil on the group, "Clutching At Straws" would prove to be Fish's swan song album, and perhaps Marillion's most unknown and underrated studio work of all four studio works of Fish's era. Still, commercially it wasn't quite as successful as its predecessor "Misplaced Childhood", but "Clutching At Straws" reached the album chart and it's also considered amongst the best musical studio works of Marillion's Fish era, by many fans and critics. It's also very well rated on Progarchives, and it's also to Fish himself ated, on several interviews, that this was the best album that he made with the band. I think it was his most personal work with Marillion.

"Clutching At Straws" is another conceptual album. The character of the story is a man with 29 years old, unemployed, whose life is a complete void. He seeks of comfort especially in alcohol to numb himself. He is trying but failing. He has a failed marriage, he is being a deadbeat father and professionally he feels his lack of commercial success as a vocalist on a group. So, he will be drunk and he writes about his own fails and laments. As he can't find no other real solutions, he ends up in bars, hotel rooms, and on the road, whining and drinking without redemption and a real future hope.

"Clutching At Straws" is very different, on lyrics and music, from its predecessor's albums. It's darker and, in a certain way, it's a kind of a Fish autobiographical album, exploring the excess of alcoholism and life on the road, representing the strains of constant touring that would result in the departure of Fish from the group to pursue his solo career.

The line up on the album is Derek Dick "Fish" (vocals), Steve Rothery (guitars), Mark Kelly (keyboards), Pete Trewavas (bass) and Ian Mosley (drums). The album has also the participation on vocals of Tessa Niles, Chris Kimsey and John Cavanaugh.

"Clutching At Straws" has eleven tracks. Because this is a conceptual album, the music moves and flows continuously. Despite the clear differences, the music here is very similar to the first three Marillion's albums, even though the mood is much darker and melancholic and the sound is slightly more mature. This means that you should expect a much dark neo-prog album with beautiful vocal melodies, poignant lyrics, and some melodic instrumentation. The keyboards on "Clutching At Straws" are much more atmospheric than on the first three albums, even further proving Mark Kelly's keyboard prowess. Many of the solos made on this album are from Steve Rothery. Personally, I adore his melodic playing style and, even though he isn't the most technical guy out there. Still, his picking has more feeling and emotion than almost anyone. "Clutching At Straws" also features some of the best bass lines that Pete Trewavas would ever perform, not to forget about the spot-on drumming from Ian Mosley. The musicianship all over the album is very professional overall, and this is yet another reason to love this album. However, the greatest assets of this entire album lie in the strength and sheer emotional power of the compositions. When I say that this album has some of the most beautiful music ever written, that is no overstatement. Songs like "Sugar Mice", "Warm Wet Circles", "Going Under", and "The Last Straw" are all great emotional masterpieces. There are also some more upbeat tunes like "Just For The Record" and "Incommunicado", both of which are also masterpieces. Every song on "Clutching At Straws" is of high quality. I don't hesitate in saying that this album contains some of the greatest lyrics ever written. Add in some of Fish's most inspired and emotional vocal performances, and you have another aspect where "Clutching At Straws" is superb.

Conclusion: "Clutching At Straws" is an excellent album. Some consider it a more mature work than the other three previous studio albums. They say the lyrics and compositions are more emotional and dramatic as ever, on Fish's era, and that they had found finally their musical identity and balance, and this album is the last definitive break with Genesis musical influence. Sincerely, I think there is some truth in these things. Still, I personally think that "Clutching At Straws" isn't, in a certain way, a Marillion's album, but a solo musical effort of Fish. Lyrically, the character was inspired by Fish's life experiences, and it has everything to do with his personal life in those times, with his problems of the excess of alcohol and the abuse of drugs. Musically, it's also much close to the music that Fish would make on his solo albums. Anyway, and despite "Clutching At Straws" be a great studio album, it isn't as good as "Script For A Jester's Tear" or "Misplaced Childhood" are. Still, it still remains, for me, an excellent addition to any prog musical collection and represents the last contribution of a great artist on a great band, too. Fish left the band by the front door.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Lavender by MARILLION album cover Singles/EPs/Fan Club/Promo, 1985
3.65 | 54 ratings

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Lavender
Marillion Neo-Prog

Review by patrickq

4 stars EMI 1578 was an Australian 7" 45 RPM single with the single version of "Lavender" (3:40) on the a-side, backed with "Freaks." The same two songs were released as a single in Europe, Canada, and the US. (The UK 12" maxi-single (EMI 12MARIL 4) had the extended "Lavender Blue" on the a-side, with "Freaks" and "Lavender" on the flip side.)

Back in 1985, this single would've been an essential purchase for Marillion fans, as the version of "Lavender" is very different from the album version on Misplaced Childhood, while "Freaks" was a non-LP flip side.

It's pretty amazing that these two songs - - which are among Marillion's best four or five - - were originally released on the same single.

I became familiar with both tunes from their inclusion on Marillion's live The Thieving Magpie, and I had no idea that "Freaks" wasn't an album cut. After all, why would such a great song be left off the album? Maybe, since Misplaced Childhood is a concept album, the song just didn't fit the concept. A few years later, that Thieving Magpie version of "Freaks" was released as a single in the UK, becoming a minor hit.

"Freaks" describes a scenario in which young Thatcher-era social outsiders discover they're not alone. It reminds me a bit of Devo's "Through Being Cool" ("If you live in a small town, you might meet a dozen or two young alien types who step out and dare to declare: We're through being cool!"), but the small-town alien types in the Devo song take action against the straights, making "Through Being Cool" a fantasy. The social standing of the freaks in the Marillion song never changes, as lead singer and lyricist Fish is still repeating he refrain "stop staring at me" as the song fades. It's interesting to note that Fish doesn't overplay his hand by arguing that the freaks are facing some existential threat. It would've been easy to make this an "us-versus-them" song, and I'm sure it would've worked just fine. But instead we have a substantially more nuanced lyric which still sounds authentic today.

And then there's "Lavender." It's based on a folk song known as "Lavender's Blue," "Diddle, Diddle," or "The Kind Country Lovers." According to the Traditional Ballad Index at California State University - Fresno, the song was in existence in England before 1685. Half of the chorus lyrics of the Marillion song are taken from the traditional text, to which contemporary verses are added. In fact, the first verse refers to the folk song itself: "I heard the children singing... it seemed to be a song for you / the one I wanted to write for you." The single version only includes the first verse, which is reprised, in truncated form, as a coda. The music, as far as I know, was written by the band.

"Lavender" is endearing without ever threatening to get sappy. It's also very accessible, although no special effort seems to have been made to make it radio-friendly.

The fact that "Lavender"/"Freaks" is pop music (albeit prog-laced) has no bearing on my rating. It does, however, impact what works I compare it to. It might not rise to the level of best pop singles ever ("Penny Lane"/"Strawberry Fields Forever," "I Get Around"/"Don't Worry Baby," "When Doves Cry"/"17 Days"), but "Lavender"/"Freaks" is nonetheless easily among the top 1% of all singles, at least in my opinion. However, in terms of the Prog Archives rating scale, I'm comparing "Lavender"/"Freaks" not to other singles, but to albums like Close to the Edge and Dark Side of the Moon. In that respect, it's very difficult (though not impossible, I'd suppose) to award five stars to a single.

So: "Lavender"/"Freaks" is a five-star single, and a four-star "album" on the Prog Archives scale. An essential part of any neo-prog collection, and recommended to any prog-rock fan.

 Misplaced Childhood by MARILLION album cover Studio Album, 1985
4.25 | 2067 ratings

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Misplaced Childhood
Marillion Neo-Prog

Review by VianaProghead
Prog Reviewer

5 stars Review Nº 261

'Misplaced Childhood' is the third studio album of Marillion and was released in 1985. With its lush production and mix, this album became the greatest commercial triumph of the band, especially in Europe where the group raised the peak of their fame and became known as one of the most famous progressive rock bands in the world. It was also their most commercially successful album, reaching the first position in the U.K. charts and spending a total of forty one weeks on the chart, the longest chart residency that a Marillion's album ever got. It was also a very successful album in U.S.A. The band even made a tour with Rush as a support act. In short, this was really a truly successful album, really.

The album featured also the most successful single of the group, 'Kayleigh', which reached the second position in the list of the most commonly listen in U.K. and was a worldwide success too. The name of the song was conceived by Fish slightly disguising the name of an old girlfriend of him, Kay Lee, on which the song was inspired. 'Lavender' was another song that was also released as a single and it was also a great commercial success. It reached the fifth position on the chart. Much of the song titles contain autobiographical references. For example, 'Kayleigh', as I said before, and 'Heart Of Lothian', an explicit reference to a traditional region of Scotland, in Edinburgh, where Fish was born.

'Misplaced Childhood' is a conceptual album, the first conceptual album released by the group, consisting of a continuous piece of music. Armed with a handful of lyrics born out of a self confessed acid trip, during 10 hours after consuming LSD, Fish came up with this very well elaborated concept for the album. The story of the album is essentially about lost loves, sudden success, acceptance, lost childhood and it has surprisingly an upbeat ending.

The line up on the album is Derek Dick 'Fish' (vocals), Steve Rothery (guitars), Mark Kelly (keyboards), Pete Trewavas (bass) and Ian Mosley (drums).

'Misplaced Childhood' has ten tracks. Because this is a conceptual album, the music moves and flows continuously. The music is very fragmented. Most songs consist of short themes tied together in a remarkable way. The lyrics are even more fragmented and because of the personal nature they're pretty difficult to interpret. 'Pseudo Silk Kimono' is a short introduction to the album. Mellow synthesiser tones, a warm bass and a guitar hinting in the back, that's all that accompanies Fish's soft whispering voice. As the synth tones of 'Pseudo Silk Kimono' fades, the guitar intro to 'Kayleigh' starts. The lyrics for the song were considered too much personal by the band. This is a classic prog ballad, a sad invocation for regret and self blame. A piano segue connects 'Kayleigh' and 'Lavender'. This is one of the most original songs in prog rock history combining a traditional English nursery rhyme with classic rock components. It's magically transformed into a touching love song where the sentiment of beauty is masterfully captured. 'Bitter Suite' is one of the lengthiest and more complex songs on the album. This very fragmented song starts with a very ambiguous little poem. It's brooding and dramatic, with multiple sections and with a very beautiful piano ending. 'Heart Of Lothian' was the last song chosen to be released as a single. It's a pretty straightforward rock song. The lyrics are about Fish's nationalism, proud to be a Scots. It's catchy and irresistible. It has cohesive keyboards and drums, catchy guitar riffs, strong bass lines and Fish's dramatic voice. 'Waterhole (Expresso Bongo)' is very aggressive, lyrically and musically. It starts with menacing keyboard tones before drums kick in and a high paced rock song full of percussion. 'Lords Of The Backstage' is another high paced rock song. This song deals about the poor combination of love and life on the road. The music quietens again for the epic on the album, 'Blind Curve'. It's again a very fragmented song like 'Bitter Suite'. Rothery takes over with one of the most beautiful guitar solos. 'Childhood's End' is 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. 'White Feather' is a great song to close the album, very energetic and dynamic.

Conclusion: Besides be their most commercially successful album, 'Misplaced Childhood' is, for me and without any doubt, their best studio album until today, and is also, in my humble opinion, one of the best studio albums ever made in the progressive rock music. Even the former drummer of Dream Theater, Mike Portnoy commented that this was the best Marillion's album of all time. With 'Misplaced Childhood', Marillion proved they weren't a clone of Genesis and with it they reached the status of be considered one of the best progressive rock bands ever. 'Misplaced Childhood', put Marillion on the same quality level of Genesis, Yes, Pink Floyd, Gentle Giant, King Crimson, Jethro Tull, Van Der Graaf Generator, Camel, Emerson, Lake & Palmer, Rush and Dream Theater. It put them as one of the greatest and most influential prog bands of ever too. If you don't know the band yet and want to buy a Marillion's albums, this is the best.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Clutching At Straws by MARILLION album cover Studio Album, 1987
4.16 | 1288 ratings

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Clutching At Straws
Marillion Neo-Prog

Review by TCat
Collaborator Eclectic Team

4 stars As most Marillion fans know, "Clutching at Straws", released in 1987, would be the last to feature Fish as the lead vocalist. After the tour to support this album, he decided to leave the band and have a go at a solo career. Of course, many were sad to hear of his departure, but the band went on and persisted. This album, however, was obviously taking a different direction which was obvious immediately because of the difference in album design.

"Clutching at Straws" nevertheless, is still an emotional and strong album. It is actually tied more to the previous albums than most think in that Torch, the main character from this album, is the 29-year-old descendent of The Jester, who was featured in the album art of previous albums. Torch is an out of luck individual who has been through a failed marriage, he was a bad father and also the singer for an unsuccessful band. He ran away from his problems through drinking and drug use. The concept reflects Fish's own life and has been considered auto-biographical. The songs are quite dark in lyrical context, but the music is still prime-Marillion, the style very close to previous releases by the band.

The album cover is another story all together. Fish wanted a cover showing some of his inspirations. On the front cover, Fish is shown with Robert Burns, Dylan Thomas, Truman Capote and Lenny Bruce. On the back of the album, John Lennon, James Dean and Jack Kerouac are pictured. The artwork is all drawn by Mark Wilkinson, who complained that the artwork didn't come close to depicting what he had pictured in his mind, and a lot of that had to do with the fact that he was rushed to get it turned in by the time the record company demanded it.

Speaking of the record companies, they also rushed this album. Since the band was very popular in the UK and had shown some popularity that was growing in the US, they were in a hurry to make a profit off of a new album. There was also the fact that the US record company Capitol Records wanted to pressure the band into making it more commercial and threatened that if they didn't have a successful record, that the label would drop them. They ended up dropping them a few years later anyway. However, even with the rushed atmosphere, the album itself turned out quite well, producing some of Marillion's best music among other songs that were a bit less interesting. Somehow, the band still pulled off an excellent album, which was pretty close to the high standard that they had set for their music.

The songs on this album are typically a bit shorter than some of their previous material, which is probably a result of not being able to spend so much time on perfecting the music. Yet, all of the key elements are still there. The music is lyric heavy, as is expected from that era of Marillion's music. Fish's vocals are important, and they are definitely not weak by any means. They are full of emotion and dynamic, Fish's ability to make the lyrics clear and defined. The instruments are top-notch as usual, with Rothery's ability to play the guitar parts, flourishes and accompaniment reminiscent of Steve Hackett, keeping it restrained when needed and being quite awesome when required. This is all so well supported by Mark Kelly's keyboard style, always so important to Marillion's music, standing out when needed to give life and variety to the music, but also being restrained when supporting, always providing the best accompaniment in the business especially for a band that relied so much on their story lines and lyrics. It was not very often that a band could work so well together with dynamic and sometimes complex music as this band had, the only band that could come close to being as perfect as Genesis in writing and presenting lyric-heavy progressive music.

This album gets panned way too much. It is a great album and I consider it to be almost as good as the previous 3 for which Marillion is most revered for. Even though all of the songs are great, the best tracks are the last four, "Torch Song" through to "The Last Straw". In these songs, Fish is at his most dynamic and emotional best, the songs being quite memorable and beautiful. Since it is only a slightly lower in brilliance than the previous albums, I tend to rate it with 4 stars, but it is still an album that is worthwhile and I don't understand why it is panned so much by the fans. Honestly, I blame the slight lapse in quality to the record label pushing to get the record out, but I am amazed that it still turned out as good as it did. That, to me, is a huge testament to the band being able to rise above the pressure. It is an excellent album.

 Script For A Jester's Tear by MARILLION album cover Studio Album, 1983
4.23 | 1946 ratings

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Script For A Jester's Tear
Marillion Neo-Prog

Review by BrownJenkin80

4 stars While the progressive scene seemed to suffer for the destructive force of punk, NWOBHM and disco especially in Italy, in other countries the movement continued to produce with old pals changing some directions (like Camel with nude and single factor) and new entries. Marillion are, in my humble opinion, the starting point and the reference for future bands of the new era. I admit not liking the era very much, yet I consider the Script as an excellent addition. First of all, being a watershed between "old" and "new" you should listen to it to have an idea. Let me say I prefer the live "Recital" when listening to the Script as a whole (so the recital deserves a 5/5). Anyway, the studio version is a really good piece. Go straight to "Garden Party", it's intro is def. an 80ties stuff. I remember listening to the single because I heard Andy Ward was playing on it (despite he just did the video shootage) and being quite skeptical about the song. After some time I listened again, this time to the full album and I was intrigued by the narrative force of Fish. Indeed, Genesis are a strong reference, since Fish draws a lot from Peter Gabriel hat, singing/acting in a very solid way. He adds harder or "more cruel" stuff to his voice and you can really feel the anger of knowing that "the game is over". So the two focal points are Garden Party and the titletrack, with a surrounding of greatly balanced songs (I personally prefer Three boats than He knows you know - the other single hit). Lyrics are the best they ever wrote quite complex compared to Misplaced Childhood ones. Music is fine, with some great solos from Rothery. An excellent add-on to progressive music, you can stop at this piece or go on with the evolution.
 Brave by MARILLION album cover Studio Album, 1994
3.98 | 1013 ratings

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Brave
Marillion Neo-Prog

Review by DominicS

5 stars I've only very recently become aware of Marillion's music after listening to Steven Wilson endlessly, but after hearing of Wilson's appreciation of Marillion I decided to delve into 'Brave' - and what a masterpiece of music it is. The album is a glorious attempt at imagining the life of a young woman who was found wandering the Severn bridge, clueless of who she was and why she was there. It is a very dark album, many of the songs being very moody and reflective but that is the beauty of it - Marillion create this emotionally raw narrative that refuses to sugar coat anything. What's more, Hogarth's expressive voice perfectly fits with the mood of this album (Fish's voice is nothing compared to Hogarth's). This has to be the best Marillion album and possibly one of the most powerful gifts ever given to the prog world as I have never been so overwhelmed after a first listen of a piece of music.

'Bridge' is such a powerful start to the album, gifting the listener with these huge chords that are often discordant, reflecting the grand scale of the Severn bridge but also the danger of being up there alone. This then fades into just Hogarth's voice accompanied by a piano - what a perfect way to introduce his gentle but hypnotic voice. 'Living with the Big Lie' begins the story of the young woman being born, carrying on this gentleness which is so suited to the early stages of life. The isolated harmonics on Rothery's guitar are so extremely delicate which is nicely complemented by Hogarth's voice, in which every breath he takes can be clearly heard - it requires the listener's full attention as it could be so easily missed, but it is such an enchanting moment. The song then grows in intensity to symbolise the young woman's growing anger as a teenager; this sort of build similarly happens in 'Runaway Girl', however, to me, this is the darkest song on the album. The main guitar riff is excellent, it's so dark and brooding and suggests that something is about to kick off. My favourite part of this song has got to be Rothery's guitar solo; it is a great example of how a solo should be crafted, with the intention of being able to tug at the listener's heartstrings. I much prefer this sort of soloing rather than the excessive and soulless shredding that some guitarists favour. These first three tracks always greatly impress me but its 'Goodbye to All That'' that I find the most interesting out of all the songs on the album. Firstly, the narrative returns to the scenes on the bridge; this return to the present is mirrored musically by the return of the melody from 'Bridge'. When I first realised this, I was astounded by just how clever this album is, using musical motifs to assist the listener in following the complex narrative - wow! The rest of the song focuses on the young woman's use of drugs which again is intelligently aided by the music. The most intriguing part of the song is 'The Slide' due to how ambiguous it is, there is no structure to it and no main melody - almost quite chaotic. In my opinion, this resembles the effect of drugs on the human body so effectively, it is clear to see just how well organised this album is and how much thought has gone into it.

Songs such as 'Hard as love' and 'Alone Again in the Lap of Luxury' provide light relief from the heavier themes on the album. 'Hard as Love', for example, conveys the struggles of love with the young woman's parents and past boyfriends. It has more of a classic rock feel, is in a major key and is the catchiest on the album which allows a break from the melancholy of the rest of the album. This break, however, is only brief as 'The Hollow Man' takes the listener back into the narrative's darker parts, exploring the emptiness that the young woman feels due to her past experiences. The song itself is bare and empty for the most part, limited to just a piano and heavily reverbed vocals to really emphasise the expansive bareness of the young woman - so simple but also very meaningful. The song 'Brave' is another atmospheric piece that describes the emotional state of the young woman; what touches me most is the drive in Hogarth's voice on the lyrics 'She's Gone' - it's so irrevocably moving. 'The Great Escape', whilst being a great song, is not the strongest on the album in my opinion, contrary to what many may believe. Despite my opinion, this song cleanly wraps up the narrative, revealing the reasons of the young woman's suicidal thoughts. What I do highly admire about this song is the ending, the guitar solo is epic, and the chords make it a highly passionate conclusion. However, it cannot beat 'Made Again', a song that I keep playing over and over again. It works in two parts, the first featuring a quiet fingerpicked guitar and vocals but the second part is where I fall in love. The guitar abruptly begins strumming these harmonically rich chords based on the fingerpicking in the first half and Hogarth sings his heart out in a high range for his voice. These chords stay the same for the rest of the song, but the intensity of the song grows until the end and instils an uplifting feeling into the listener to cheer them up. While it adds nothing new to the narrative, it finishes the album gloriously.

This album truly is a masterpiece in the prog world, it stands out from other concept albums due to how well planned it is and how complex it has been made, both to listen to and understand. Every time I listen to it, I hear something new or I realise something that I had never known before - it is an album that just keeps on giving. I don't think anybody will ever be able to fully comprehend its genius which is why it's so damn good. From the album cover to the music to the narrative - everything about it is awe-inspiring.

 The Carol Of The Bells by MARILLION album cover Singles/EPs/Fan Club/Promo, 2013
3.55 | 11 ratings

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The Carol Of The Bells
Marillion Neo-Prog

Review by patrickq

3 stars This was the first time I'd listened closely to a non-Fish Marillion song. Steve Hogarth, Fish's replacement, is pretty good. I don't know much about this band outside of a few Fish-era classics, but do the other guys sing? The harmony vocals actually sound really good. I assumed it was mainly Hogarth until I heard "That's What Friends are For" - - also from their Christmas album - - and it sounds like the voices of at least two or three different people. 

"Carol of the Bells" is a hundred-year-old song, based on an even older melody, and over the past 30 years, when a rock band has recorded a Christmas album, this song had a good chance of appearing. While Robert Berry's 2002 prog-rock version (as the December People) is excellent, the all-time classic version, in my book, is "Sarajevo 12/24," Savatage's 1995 instrumental interpretation which spawned the Trans-Siberian Orchestra.

Marillion does a good job of avoiding a homage to "Sarajevo 12/24," which would have been fun and easy. Instead they focus on a vocal arrangement for the first two minutes before commencing with the inevitable rock instrumentation. The vocal arrangement continues until a soft orchestral interlude abruptly begins at 3:45. The well-known four-note motif ("ring, silver bells") gives way to the complimentary melody of the James Bond theme, and the band returns to offer a rock take on a few measures of John Barry's spy-film classic. Just after 4:40 guitarist Steve Rothery launches into a Marillion-style solo. In the final minute of the song, the interlude passage returns, and in a nod to the Trans-Siberian Orchestra, the lead line of "God Rest Ye Merry, Gentlemen" is woven into the old Ukrainian melody of "Carol of the Bells." But wait - - the rock won't stop just yet - - the song ends with a recapitulation of the Bond theme. 

Three stars for a good take on this well-worn classic.

(P.S. The version I'm reviewing is 6:14. I downloaded it from emusic.com in November 2016. This appears to be the same as the version on bandcamp, but the version posted by marilliononline on YouTube on 12/15/13 has a reprise of about 1:20. "Carol of the Bells" is no longer on emusic, and is apparently only available on bandcamp as part of an album (for £7.99). However, as of March 2019, though, it is available for $0.99 on the US Amazon .mp3 store.)

 A Handful Of Marbles by MARILLION album cover Singles/EPs/Fan Club/Promo, 2005
2.49 | 12 ratings

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A Handful Of Marbles
Marillion Neo-Prog

Review by thwok

4 stars I'm not going to dock this E.P. a lot of points, simply because it is an E.P. or promo item. I was one of those listeners, mentioned in the release info, who wandered away from Marillion after Hogarth came on board. It certainly wasn't because I thought Fish was irreplaceable. Considering how long H has been with the band now, I think Marillion's batting average is as high as it was with their old singer. I thought SEASON'S END was amazing, possibly my favorite. If anything, I was apprehensive that the band wouldn't be able to keep up its winning streak. So if part of the reason for this release is to bring the stray sheep back to the flock, I am the target audience.

A HANDFUL OF MARBLES is primarily great music, from an album that is widely regarded as one of Marillion's best. "The Damage" is not one of the album's best tracks. "Drilling Holes" could gain from being trimmed, instead of cutting the instrumental part from the album version of "You're Gone". Those songs are exceptions. Listening to the rest of this E.P. made me want to check out the MARBLES album. So I did, for the first time in quite a while. I'd also buy the single CD version of MARBLES to have all the best songs; that's just my preference. For the time being, I'm convinced that A HANDFUL OF MARBLES definitely works.

 Misplaced Childhood by MARILLION album cover Studio Album, 1985
4.25 | 2067 ratings

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Misplaced Childhood
Marillion Neo-Prog

Review by jamesbaldwin
Prog Reviewer

5 stars Marillion with this Lp record a prog classic with minimal arrangement effort and maximum commercial feedback. "Misplaced Childhood" is a concept album that develops as a single suite, and Marillion would have liked to be just a suite like "Thick As A Brick", but the record company has imposed them to indicate each song.

The first side opens with "Pseudo Silk Kimono" (2:13, vote 7+): slow, meditative, based on the keyboards. A good preamble to the second song, the most commercial of the album, "Kayleigh" (4:03, vote 7,5/8): strophe, refrain, guitar solo, strophe, refrain. Here are the Marillion: commercial melodic rock, great cleverness, purring sound, with a soft production. The drums have a good, full sound (Ian Mosley); guitar is very fluid, thin, not at all heavy; good bass (Pete Trewavas) and good keyboards; voice like Gabriel's, but more nervous, snappy. No more instruments than the four of the typical rock complex. Production of the album completely homogeneous, arrangements without any real alternative to the guitar solo (Steve Rothery). Yet it works. It works very well!

There is nothing really brilliant, innovative, particularly original, such that I can say: this is a new form of art, they have the gift of pure talent. Marillion are very epigonic of Genesis, Yes, Pink Floyd... But they can processed them obtaining an excellent synthesis. Marillion can get the best with the least amount of effort. Because if it's true that they don't have that quid of the gifted, it is equally true that they don't have the typical defects of progressive. In fact, the sound, considering that we are in the mid-eighties, is good, clean but good: it's not muffled, it doesn't have the usual defects of the eighties. The group has no virtuosos, and they doesn't linger in solos: it's the synergy of the instrumentalists that produces the result. This is true team play. The compositions are synthetic, they go straight to the point, with excellent progressions, without wandering, without getting lost in the cerebral masturbations in which many bands are forwarded when they prolong dramatically a song with endless variations on the theme. Marillion put a lot of meat into the fire, don't digress, and with a purring sound, express emotions through music, voice and lyrics. For example, the transition lines on the piano (Mark Kelly) between "Kayleigh" and "Lavender" (2:27, vote 8,5) by itself is much more inspired than entire records of some symphonic rock groups (I don't name them!). Lavender's progression with its epic melody reaches climax, and represents the highest point on the album. Too bad that Lavender ends after only two and a half minutes: they had to prolong it another minute, as they did with the single disk!

They sacrificed the song for the suite, in fact Lavender fades into the recited suite ("Bitter Suite", 5:53; Vote 7,5/8), which creates a variation at the usual rhythm punctuated by drums, vocals, guitar solos. But here, after the recitative, the rhythm returns and the guitar plays again the Lavender melody. Finally, the rhythm changes, there are some excellent instrumental passages, the voice of Fish is not beautiful but it's very expressive, the singer knows how to do it, puts his heart (and we feel it!), it's not the cool virtuosic song of some prog groups, here we are close to classic rock given the synthetic capacity of the composition, the classic arrangement and the pathos transmitted. And so we approach "Heart of Lothian" (6:02, vote 8+), with a very evocative progression, which then flows back into the epic mood, touching another climax, yes, "I was born with a Heart of Lothian", sings Fish, with an anthem rhythm that would be an exceptional stadium song. And in fading the first side closes. Great. Short, inspired, pimp, catchy, yet without tricks, without overdoing, direct. They know how to do it, they will not be geniuses, but they can compose music of excellent quality, and play it and interpret it with the heart, obtaining great pathos. Vote side A: 9.

The second side is slightly smaller, more homogeneous, more rhythmic and less melodic, based on a long central piece. The first two short pieces (Waterhole -Expresso Bongo- 2:12; Lords Of The Backstage -1:52; vote 7,5) are the same song with a change of rhythm, the drums are always present, sometimes they may be slightly lumpy, but the voice of Fish and the guitar by Rothery act as a counterpoint, and so we get to "Blind Curve" (9:29; vote 8+) that towards half stops the beating on the snare to make room for a guitar phrasing that echoes to create an evocative atmosphere where finally the voice of Fish in one of his dramatic "crescendo" finally arrives at the climax (the only one on the second side), asking, desperate to have his childhood back, childhood that he can not find anymore. Then the rhythm starts again, and Blind Cruve end playing again the epic Lothian melody by guitar; then Rothery intones another rhythm, always very strong, as in all the second side, to propose another classic rock song, "Childhood's End?" (4:32) which has a good crescendo, even if it doesn't reach the climax.

The last piece ("White Feather"; 2:23, vote 7), as indeed the last fading movement of Heart of Lothian, is not particularly significant, it is functional to the text. Vote side B: 8,5.

So this short album closes, which runs away perhaps too quickly but without a weak moment. The fact is that you listen with pleasure, without effort, and never get bored, despite you find always the same arrangements. I bought this record when it came out, in 1985, I was a teenager, and sounded hypnotized by Lavender, Heart of Lothian and Kayleigh: I liked the record right away, that melodic rock punctuated by a pulsating drums, a gritty voice and solos guitar was immediately addictive to me, I really felt the epic of the moment. The second side has no successful singles like the first, it is less varied, but holds well. It is a miracle how they can achieve such high results without doing anything truly original, but the beauty of this music consists precisely in its usability, in the synergy that is created between the melody and the sound of the group. So, what rating to give? It would be more a four and a half stars that a five- stars, because the vote would be more an 8.5 / 9 than a 9 (in my particular ranking the 5 stars start from the vote 9). But I see the representation of Marillion for neo-prog and I see the pleasure I have listening to this album, so

I give vote album 9. Rating: Five Stars.

Thanks to ProgLucky for the artist addition. and to Lazland (w/ Quinino help) for the last updates

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