Album Index

Script for a jester's tear (EMI CDP 7 46237 2) 
    

The very first album of Marillion from 1983 breathes a typical breathtaking atmosphere. Together with the chilling agression of singer Fish, these points stands for the success of the debut album. For many still the best album full of masterpieces. If you take the party-like 'Garden party' or the melodramatical 'Chelsea monday', they all are earcathing till the very last notes. The opener 'Script for a jester's tear is yet the unbeaten topsong, together with 'Forgotten sons' in which Fish preaches his agression against the rotten warsystem. Nevertheless, the other two classics 'He knows you know' and 'The web' doesn't score less than the rest. A marvelous first entry for a band than revives the glory of symphonic rock in that time. 
  

Fugazi (EMI CDP 7 46027 2) 
    

The second album shows immediatly a different Marillion. With the opening song 'Assassing' the band doesn't build on the fundaments of 'Script'. This is very surprising, off course. Even after 'Punch & Judy' you can think that you have here a new style Marillion. More up-tempo packed in sarcastic though catchy texts. But after this, we can hear an old Marillion again in full glory. I must admit that the first songs are very welcome to me. With 'Jigsaw', 'Emerald lies' and 'She chameleon' Fish and company are digging more deeper into an atmosphere that refers to the first album. At last the success of the chosen way comes and made of 'Fugazi' a very strong album. Above all the title song and 'Incubus' will find their way to many favorites lists. Again, the artwork is giving an excellent impression of the contents of the'story'. 
  

Real to reel (EMI CDM 7 52021 2 / CD-FA 3142) 
  

The first live album has a lot to do with the studio albums 'Script'and 'Fugazi'. When you here 'Assassing' you know that you listen to recordings of the Fugazi-tour '84. There is a good balance between the songs from the two albums. The innovating 'Assassing', with the intriging 'Incubus' and 'Emerald lies' against the very fine performed 'Fogotten sons'and the party-all-over-the-place song 'Garden party'. Earlier single material like 'Market square heroes' and 'Cinderella search' completes the live registration. It's a pity that both title tracks didn't appear on this good album. Marillion has build up a nice live reputation. 
  

Misplaced childhood (EMI CDP 7 46160 2) 
    

On the third studio album we are getting to know Fish better than on his earlier ones. This concept album carries a rather autobiograpgical character and could be counted to worlds best masterpieces when it concerns sympho-albums. The closely matched songs together gives a total image of 'Misplaced childhood'. Allthough we are living in 1985 in a lp-orientated world can you listen to this work as one piece, despite of the separation of side A and B. Strong lyrics from Fish and above all the very dominating guitarparts of Steve Rothery are on the foreground of this album. The song 'Kayleigh' becomes worldfamous and doomed Marillion to be a mega-band for the big audience. This is of great importance to the future of the band. This will be clear lateron. This would be the first attempt to spilt Fish from the rest from the band, though nobody seems to be aware at that moment. The songs are very well thought out and will take you to the ultimate 'Marillion emotions'. During the climax in the song 'Blind curve' Fish reveales his visions to the audience who are sitting on the edge of their chairs. At last Fish knows how to throw away his burden and changes his 'Peter Pan Syndrome' into a personal triumph in the end of the last song 'White feather'. 
  

Clutching at straws (EMI CDP 7 46866 2) 
   

The last album with Fish, that is clear now. Fish and drinking(problems) are good mates of each other. The real Marillion fan knows from this phenomenon, but should be surprised by the outlets of the singer on 'Clutching at straws', on which he gives more and more away of his own secrets. Musically spoken, the band evolves itselves to a real mega-status group with as straw (as to speak in the spirit of the album) the complex and fine symphonic components. The opening trilogy 'Hotel hobbies', 'Warm wet circles' and 'That time of the night (The short straw)' presents the Marillion from the year '87. More in vein of 'Misplaced childhood' than falling back on the very strong first albums. Thus you can formulate the type of music on this album. And that's maybe all there is to say, though the side-show is more on the foreground than ever before. The allready known quarrels between Fish and keyboardplayer Marc Kelly leads to the disparture of first the mentioned. A shock to the fans, what do you have to expect from a steerless Marillion and a solo-going Fish? Just something more about the songs on 'Clutching'. 'Incommunicado' and 'Sugar mice' became small hitsingles and 'Torch song' and 'Slàinte mhath' can be counted to the many sing-along Marillion songs when you listen to the (last) live registrations. A good album, but not a overwhelming, fascinating and convincing Marillion as on 'Script'. Clutching at straws, that's to say, for the fans. 
  

B'sides themselves (EMI CDP 7 48807 2) 
  

Single B-sides and not yet released material as a collection for the real Marillion fans. Very interesting are the songs 'Gendel' and 'Three boats down from the candy'. Just these two songs show how the influence of 'Genesis' did appear in the spririt of Marillion. 'Market Square heroes' may not be forgotten on a sampler as this. And the opportunity has been taken to release the two songs 'Lady Nina' and 'Freaks' on a true album. 'Tux on' is a leftover from 'Clutching at straws' and scores less than the others. The live part in the form of 'Margaret' has maybe an emotion value but is not really suitable for this album. As I said an album for fans with some unforgettable songs from the past. 
  

The thieving magpie (EMI CDS 7 91463 2) 
   

The in 1998 released double live album 'The thieving magpie' is filled with old and recently recorded live material from the band who now has to go further without Fish. CD two is a integrally registration of the complete 'Misplaced childhood' album. As opening tune you can listen to an (intro-tape) orchestral performance of Rossini's 'La gazza ladra', which is the translation of the title of this album. The same magpie has allready appeared on more beautifull drawings on several albums. Looking at the quality there's a lot to say about it. This album is just a collection of stand-alone live registrations. But we have to consider that we have to do with a band in an identity crisis not really thinking of bringing out a live album. De search for the new singer takes a lot of time. This is so to say a 'saying-goodbye' album to the past Marillion period. For many a sad fact, but for the hopefull there will be a new different though good Marillion rising from the ashes. The Fish-days are over and that says enough about the (painted or not) face of the died Marillion. 

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