The New Kings (Marillion, 2016)

"The New Kings" was a Marillion fans' favourite from the very start and for many good reasons, IMHO. Firstly, the leading melodies are excellent, enjoyable and far from trivial. Secondly, the plot of this suite, divided into four movements, is coherent and diversified. Thirdly, the instrumentation is rich and intriguing, including a string quartet, a hammered dulcimer (played by Hogarth) and some beautiful backing vocals.

"The New Kings" was the F.E.A.R. album leading single.

Last but not least, the lyrics about the illegal gain underworld are topical like never before. The warm and well mixed acoustic / electric sounds are fascinating and richly arranged, full of sharp changes and liquid solos, the way Marillion have to be both classic and modern. After all, the F.E.A.R. album is likely the band's proggest work in twenty years... excellent news, no doubt.

Estonia (Marillion, 1997)

What a sad and beautiful song! And the story behind it is also interesting: it's about the sinking of the passenger ferry Estonia in 1994 in the Baltic Sea, the worst European shipwreck since WWII. 852 people died and 138 were rescued alive, including Paul Barney, one of the two British passengers on the ship and the only survivor. Marillion's singer Steve Hogarth met him on an aeroplane and got the inspiration for the lyrics .

MS Estonia gave rise to a great disaster and, also, to a great song.

The music was also strongly influenced by the disaster and the morn, spritual mood of the song - especially of the dreamy instrumental part - is a heartbreaking depiction of death experience and after-death expectations. "Estonia" starts with Barney's story, but is more about the loss of loved ones than the actual sinking of the Estonia ferry. As a matter of fact, Hogarth's firts lines are still linked to the disaster's physical circumstances, then the focus moves to the unwordly side of such a painful occurrence. Moving and inspiring, IMHO.

Ocean Cloud (Marillion, 2004)

One of the most moving Marillion songs ever, this long epic comes from the album "Marbles" and deals with the personality of Don Allum, the first man to row the Atlantic in both directions. Including dreamy and rarefied instrumental sections, this track also features hearty vocals by Steve Hogarth and a manifold collection of keyboard effects. Of course, Steve Rothery's solos are among the highlights of "Ocean Cloud" and I won't forget to mention here some beautiful tempo changes and, last but not least, the heartbreaking lyrics, where Don Allum's sensations seem to be directly taken from his heart.

Strangely enough, Don Allum never was worthily recognised

for his double achievement. Jist this plaque and a song...

Even if this man payed his stunning achievent with his own life (he died from a stroke following the deprivations he suffered during his rows) the track is never pathetic and depicts the close relationship this man created with the sea and the natural elements. That's why the music constantly changes: it follows the everchanging and unpredictable sea...

Grendel (Marillion, 1982)

I wondered about including "Grendel" in my blog for years, and I finally came to a positive decision. This is kind of an orphan song, as Marillion themselves never perform it live nowadays and they even seem ashamed of it. Nonetheless, this is a seminal song in their career, one of their earliest compositions and one the bravest ones. Bravest, yes, because it wasn't easy at all to write amnd perform a prog rock suite in 1982, let alone the mythological lyrics . By the way, those lyrics weren't directly inspired by the Beowulf, as Fish put down in poetry a novel by John Gardner, so that the song deals more with intolerance than with monsters. 

 

Grendel was released as part of "Market Square Heroes" single.

That said, I actually love this epic, so powerfully emotional and so rich in changes and - of course - in musical quotations. I think this is the perfect manifesto of the resurgence of prog in the '80s and also a brilliant example of how moving prog rock can be when Fish and Marillion come into play. I apologise with the band and the intellectual reviewers, but I'm still in love with Grendel (I mean the song, not the monster...).

When I Meet God (Marillion, 2001)

Here's one of those songs I listen to very often and I like each time more. "Anoraknophobia" included two long tracks of this kind and they still are among my favs. The lyrics about human weakness and the slow, winding rythm  are luckily the first features the listener pick up from the song. Then the beautiful melody comes in... and I'm in a musical heaven.

Anoraknophobia deals with "Anoraks", meaning Marillion's fans

The verse, the chorus and the bridge are all so well written and the tempo change is so well set up that the whole track seems shorter than it actually is. Mark Kelly signs one of his best keyboard arrangements ever, full of what I'd call sense of wonder and of course the rest of the band are at their heigths too. The whole track is packed with original tricks and nonetheless is a fully enjoyable and catchy song. Another miracle by Marillion, I daresay.

That Time of The Night [The Short Straw] (Marillion, 1987)

When Marillion decide to approach a rather traditionally set up song, they do it their way. Luckily. This is exactly the case with "That Time of The Night", sub-titled The Short Straw, and taken from the last Fish era album, "Clutching at Straws". Not only the verse / chorus structure is cleverly enriched and revised by the band, but also the rythmic solutions are very original, providing a suspended and nervous atmosphere, like the darkness before a storm.

 

A beautiful Picture disc edition of "Clutching at Straws".

 

I actually like the contrasts between the stretched verses and the wider chorus and between the syncopated bass lines and the ethereal keys. Some six minutes of deep emotions, that's what this song is to me. And a very good way for Fish to say goodbye to the band's fans.

Easter (Marillion, 1989)

This is a very popular prog song, and that's saying something. In fact, it isn't a trivial song at all, displaying a somehow original architecture, with a first section reminding me of a folk ballad and the second one a more lively and uneven finale, plus a guitar solo bridge between them. The sung part is sweet and catchy, but also very well arranged, blending a 12 string guitar and the keyboards, while the rythm section gently stresses Hogarth's vocal performance. 

This single peaked at number 34 of UK Charts.

 

Then, Steve Rothery offers a splendid dreaming guitar solo, the aforementioned bridge, actually an emotional peak of the song. The last parti is leaded by H's vocalizations, with the whole band coming in to build a mid-prog mid-pop effect. The lyrics are about Northern Ireland conflict and I think they're one of the best ones in Marillion's discography. In its variety, this really is a great song, IMHO, one of those rare progressive tunes some purists contemptuosly criticize and irresistibly sing along.

Bitter Suite (Marillion, 1985)

One of my favourite (neo-)prog songs ever, this "Heart of Lothian" is the symbol of Marillion's sensitive, romantic and somehow aggressive style. A thrilling pathos rules the entire track, supporting the autobiographical lyrics by Fish, whose vocals are both deep and biting... even his narrating intro, probably the only prog spoken section I adore. And the J'entends ton coeur passage is one of the most touching and sincere anthems of the '80s prog rock, IMHO, a bleeding heart's cry. Then, what about Steve Rothery's solo? Or of the intro of the last section?

 

An early Marillion press photo: the way they were...

Being a short suite inside an album that's kind of a suite itself, this song is actually divided into three parts: I. Brief Encounter, II. Lost Weekend, III. Blue Angel. It is difficult for me to select one of these as the best one, as they're all so enthralling and melodically rich that I'll never be tired to listen to them. And to say it all, I'll never be tired to listen to the whole "Misplaced Chilhood" album. Will you?

The Great Escape (Marillion, 1994)

I know it's difficult to single out a "Brave" song, as this album is a strong, cohesive compisition, but "The Great Escape" has a distinctive enough structure to stand alone. In addition to this, it also has all the main characters of the album. It mixes a good melody and a creative arrangement with the usual Marillion features, such as Steve Rothery's dreaming guitar, Mark Kelly's ethereal keyboard background, Steve Hogarth's sensitive vocals and so on, but I especially appreciate here the excellent main melody and all its variations. The track includes two more sections called "The Last of You" and "Falling from The Moon", also very good and featuring sad, beautiful lyrics co-credited to Hogarth and Helmer.

 

This song was also released as a single in 1994.

This track is also well known by Marillion fans for its changeable endings, depending on its different editions and supports. The original CD version leads to a happier album finale, "Made Again", intended to raise up the listener's state of mind, while the 2-LP edition also offers an alternate (and sadder) 20 minute water noises to close the work. Finally, a so called spiral remake is also available as a bonus track in the remastered CD released in 1998. Be as it may, this is a great song IMHO, digging into the deepest recesses of human soul.

Garden Party (Marillion, 1983)

"Garden Party", subtitled "The Great Cucumber Massacre" is one of the most important songs by Marillion in the definition process of their own style in the early '80s. It is also one of their first singles to enter the charts, kind of a passport to fame. It's a strange song, featuring an up tempo chorus and a down tempo verse, sung by Fish in two very different tones: mellifluous and aggressive. The lyrics attack in a very direct way some British upper class habits and the funny official video of the song actually depicts an irreverent raid on the spot of a fashionable party.

While the 12" single featured the album version of the song,

the 7" version was heavily edited (4:35 minutes instead of 7:15)

This song greatly contributed to launch the prog revival of the '80s, showing how much this kind of rock could be sharp and energetic, something the punk generation seemed to ignore till then. And in fact, the album version of "Garden Party" also contained the four letter word f***ing, decorously replaced by miming in the single edit, so that all the radios could accept it. The sign of the times, one would say.

Afraid of Sunlight (Marillion, 1995)

One of my favourite songs ever. That said, this deep, obscure and bittersweet piece of music is the title track of 1995 Marillion's album, kind of a hidden concept album about fame, decline and death. It's a highly emotional song, based on a sharp exploration of the inner regions of conscience. Hogarth's performance is one of the most sensible of his career, featuring a wide range of feelings and perfectly supported by a warm and well-calibrated ryhtm section.

Some fans say this song is about a vampyre.

I dont' think so, but there's definitely a dark mood in the track.

The instumental section is like a dark dream and Steve Rothery's guitar solo... well, it's a Steve Rothery's solo! I recommend to listen to this track just after its campanion song "Afraid of Sunrise" (the album's fourth track) to appreciate the delicate variations of the same main theme. But then, I understand, it would be difficult to cut away "Out of This World" that saparates the two "Afraids". Well... just try!

Incubus (Marillion, 1984)

Crushed between the overflowing energy of "Script for A Jester's Tear" and the melodic blossoming of "Misplaced Childhood", "Fugazi" album is often underrated in Marillion's discography. But it includes gems as "Incubus" that are worth the greatest attention. First of all, this song has a brilliant melody and a creative rythmic section suitable for the most demading tastes, then comes Fish in one of his best performances ever. Sweet and bitter, quiet and loud, agressive and compliant, all the possible vocal tones are there.

Poor Jester is suffering in his bed... but his music's fine !

The track is build up following the outline of "Script of A Jester's Tear" title track, as it features a succession of melodies and moods in the same harsh / mellow / harsh / mellow /rising / bombastic order. Only, this song also includes longer instrumental solo parts, with a special mention for Steve Rothery's electric guitar heartbreaking dreamy section. Yes, I like this song more and more and I do think it's one of the greatest Marillion tracks during the so called "Fish era".

Waiting to Happen (Marillion, 1991)

When I first listened to this song I was surprised. A very simple and almost traditional ballad, acoustically arranged, including lyrics about love, just the happiness of love. Is this prog? Is this plain pop music? Same old question I can't aswer to but saying 'I really don't care'. Just the basic facts: this is a beautiful song, featuring an aerial musical background based on 12 string guitars and keyboards, well supported by the rythm section.

"Holidays in Eden" was the second Hogarth era Marillion's album.

Mark Kelly, in particular, is pewrfect, stressing the singer's words and emphasizing the lightness of the chorus. This ballad carries the listener above the everyday fog, clearing an inner, pure sky and I'm grateful to Marillion for giving me five minutes of joy. If a beautiful song granting positive emotions and based on a solid melody isn't prog, well, this isn't.

Gaza (Marillion, 2012)

In 2012 Marillion were back to epic songs in their "Sounds That Can't Be Made" album and this is the longer track they released then, a genuine prog rock suite. It's a track I love, so varied and strong, both in music and lyrics. Not an easy topic for sure, because this is about Israel / Palestine conflict and tries to describe the daily life in Gaza strip. A risky task, I daresay. Steve Hogarth interviewed both Israeli and Palestinian people in order to provide a neutral narration with no offence for anyone. It's up to you to decide if he succeeded, but certainly he gives an impressing picture of life conditions in that restless enclave, adopting the childrens' point of view and thus avoiding all political comments. 

"Sounds That Can't Be made" is an album I like very much.

I think it brilliantly mixes old and new Marillion's sounds.

Back to music, now. There are - obviously - strong, heavy passages, but also sweet and pensive ones, a kaleidoscope of moods and emotions, all plug in a coherent frame. Some of the melodies are excellent and all the musicians contribute to the big picture. I can't choose one section of this suite as my favourite one, but the mostly sung part between minutes 11:45 and 14:30, including a Steve Rothery's electric guitar solo, is simply moving. After all, when a 17 minutes track flows away in what seems to me 5 minutes, I bet there's something good in it.

Chelsea Monday (Marillion, 1983)

I can't describe my inner reactions each time I hear the oppressive bass line introducing "Chelsea Monday". I see an urban grey sky, a concrete landscape and a million people searching for something new in their lives. Really, this is a highly emotional track and when Steve Rothery comes in with his electric guitar solo the foggy atmosphere leaves its place to a human pulsing, suffering heart. Fish's vocals tell about a young lady trying to be a star:

Catalogue princess, apprentice seductress
Hiding in her cellophane world in glitter town
Awaiting the prince in his white Capri.

Did those dreadful guys push the poor lady of the song into the river ?

But the story ends with a moving and hurting note:

Hello John, did you see The Standard about four hours ago?
Fished a young chick out of The Old Father
Blond hair, blue eyes.



And the song quietly fades away while the the Old Father Thames rolls on...

Seasons End (Marillion, 1989)

As you probably presumed, I like Marillion. And this for many reasons, including this one: they can write songs both prog and catchy. "Seasons End" is one of my favourite ones in this style. Plain as it is, this track is also a brilliant and deep example of prog ballad, where a beautiful melody meets a clever arrangement and, of course, a dreamy Steve Rothery's guitar solo. The lyrics about climate change are worth a careful listening (and eventual reading):

Marillion's line up for "Seasons End": welcome, Mr. H!

We'll tell our children's children why
We grew so tall and reached so high ,
We left our footprints in the earth
And punched a hole right through the sky.

We'll tell them how we changed the world
And how we tamed the sea.
And seasons they'll never know
In England.

The instrumental section leading to the end of the song is also one of my favourite moments, both gentle and tight, with Hogarth's lead voice in the background. Here (and elsewhere too) Mark Kelly leaves his trace choosing the most effective sounds for the song and its message. Excellent song, if ever one was written.

Kayleigh (Marillion, 1985)

Well, I couldn't skip this one in my collection. "Kayleigh" isn't just a song, it's kind of a symbol, the mark of progressive rock re-birth after its too hastily declared death. His reaching # 2 in the UK charts and many other National charts was the living proof that someone still liked the genre, as the relative album "Misplaced Childhood" huge success confirmed. But, of course, "Kayleigh" is also an excellent song, based on an original rythmic background and featuring a very good melody sung by Fish in all the splendour of his passionate and sensitive style. Steve Rothery's guitar also increases the artistic merit of the whole song.

Mark Wilkinson's cover for "Kayleigh" single...

 

...and a detail of Market Square new pavement in Galashiels.

 

The story of Fish and his ex girlfriend, as narrated in "Kayleigh", keeps a special place in prog history and also was worth a monument, as the Scottish town of Galashiels inscribed the song lyrics in the pavement of its Market Square, the very place where the romance began some decades ago. That said, I ask you once again: could I skip this song?

The Invisible Man (Marillion, 2004)

Marillion did a great work with their album "Marbles", released in 2004 and this opening track is one of the CD peaks. Starting with a pulsing rythm and a sad melody, it goes through many changes, so many and so strong that one could describe it like a rhapsody or a brief suite. The first tempo change is by far my favourite, when the pulse leaves place to a floydian atmosphere and Hogarth sings an excellent theme the way we all know, with his inner, almost painful feelings. And there is more than this. Next change, next big surprise.

"Marble" was also graced by this strange and effective artwork.

Now the rythm has some oriental smell and the singer keeps on charming the listener with a precious helping hand from Mark Kelly's keyboards and an increasing, distressing tempo. Then, third dramatic change and here's another world, no far from a soul ballad, with a penetrating electric guitar provided, of course, by Steve Rothery and a sweet piano. At the end of this section, the rythm increases once more and the cried out loud finale letterally runs over the listener. What else could I say? Just this: listen to this song if you're searching for a strong musical experience.

Sugar Mice (Marillion, 1987)

Marillion's "Clutching at Straws" album, is about restlessness and alcohol addiction and most of its songs are full of anger or despair. This one is rather on the melancholic side and features a very, very good melody. Fish and Steve Rothery play the main role here, the first for his usual passionate preformance, the secondr for a splendid guitar solo. I also appreciate Pete Trewavas' bass lines, but what really strikes me is the rare balance between the natural expression of inner sorrow and the smooth and neat arrangement.

This was the cover art of "Sugar Mice" 7" single version.

This contrast perfecly depicts the endless separation between social and intimate spheres in most of human beings. So I think this song represents our unavoidable solitude and also our hidden desire of coming out of our social cage. Each time I listen to this I think Fish was the one man who could sing such a thing.

Out of This World (Marillion, 1995)

This is one of the finest songs from "Afraid of Sunlight", the last Marillion album for a major company, released in 1995. All the tracks in this CD are about celebrity and its risks and this one, in particular, was inspired by Donald Campbell's life. This british speed record breaker got both land and water records and died in 1967 while attempting another record on water with his Bluebird B7 vehicle. One could imagine a fast song for such a speed lover. Well, no, this is a down tempo track, a sad, profound and touching meditation on life and love mysteries, including kind of a last message from Campbell to his wife.

The recovery of the Bluebird wreck in 2001.

A photograph by Steve Rothery.

 

This musical trip is guided by a spectacular H's vocal performance and three beautiful, nostalgic themes. Being a prog song, some very good and dreamy instrumental passages enrich the song and when it's over... you'd like some more. And also the story of this song deserves some more information: after the fatal crash, Campbell's body wasn't found in the depth of Coniston Water, UK, and in the year 2000 Bill Smith, a diver inspired by this song ,decided to try and found both the body and the wreck. Those were recovered between May and September 2001 and Campbell was buried in Coniston. His funeral was attempted by his family and Mr. H who sang... guess which song?