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Progressive Rock - Released June 17, 1985 | Rhino

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After the album-tour-album cycle of Script for a Jester's Tear, Fugazi, and the subsequent Euro-only release of Real to Reel, Marillion retreated to Berlin's Hansa Ton Studios with Rolling Stones producer Chris Kimsey to work on their next opus. Armed with a handful of lyrics born out of a self-confessed acid trip, Fish came up with the elaborate concept for 1985's Misplaced Childhood. Touching upon his early childhood experiences and his inability to deal with a slew of bad breakups exacerbated by a never-ending series of rock star-type "indulgences," Misplaced Childhood would prove to be not only the band's most accomplished release to date, but also its most streamlined. Initial record company skepticism over the band's decision to forge ahead with a '70s-style prog rock opus split into two halves (sides one and two) quickly evaporated as Marillion delivered its two most commercial singles ever: "Kayleigh" and "Lavender." With its lush production and punchy mix, the album went on to become the band's greatest commercial triumph, especially in Europe where they would rise from theater attraction to bona fide stadium royalty. The subsequent U.S. success of "Kayleigh" would also see Marillion returning to the States for a difficult tour as Rush's support act. © John Franck /TiVo
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Progressive Rock - Released September 10, 2021 | Rhino

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At the conclusion of the Script for a Jester's Tear tour, Marillion decided to give drummer Mick Pointer his marching orders, replacing him momentarily with Camel's Andy Ward and later by American studio whiz Jonathan Mover. Mover's recruitment proved to be short-lived, as Fish ushered in Steve Hackett's drummer/percussionist, Ian Mosley, whose spot-on drumming was the perfect foil for Marillion's meticulous musicianship. With Mosley, the band set out to record its sophomore effort. The first track to emerge from the Fugazi sessions would be "Punch and Judy" (which EMI released as the album's first single). In hindsight, this wasn't a smart move -- the single quickly vanished into chart oblivion. As the sessions turned into a grueling and at times exasperating multi-studio juggling act (ten different studios were used for the tracking/mixing of the record), Fugazi proved to be a somewhat disjointed follow-up to the classic Script for a Jester's Tear. Despite its superlative arrangements, the album lacked its predecessor's cohesion and focus, but all was not lost: Buried in the album's murky mix are three Marillion classics. "Assassing," "Incubus," and especially the album's title track showcase the band at its melodramatic best. The cryptic "Fugazi" was a highlight of the band's live set for many years to follow. [In 1998, EMI issued a remastered version of Fugazi featuring a bonus disc full of oddities and demos, including "Three Boats Down From the Candy," a 12" version of "Cinderella Search," and four of the album's original demos. The remastered version goes a long way toward restoring the album's original sonic aesthetic (lost somewhere along the way in initial vinyl and CD pressings).] © John Franck /TiVo
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Progressive Rock - Released April 3, 2020 | Rhino - Parlophone

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At the time, Marillion's remarkable, full-fledged 1983 debut Script for a Jester's Tear was considered an odd bird: replete with Peter Gabriel face paint and lengthy, technical compositions, Marillion ushered in a new generation of prog rock that bound them forever to the heroics of early day Genesis. Intricate, complex, and theatrical almost to a fault, Script for a Jester's Tear remains the band's best and sets the bar for their later work. Filled with extraordinary songs that remained staples in the band's live gigs, the album begins with the poignant title track, on which Fish leads his band of merry men on a brokenhearted tour de force that culminates with the singer decrying that "…the game is over." "He Knows You Know,," a song sprinkled with drug paranoia and guilt; as the song veers to its chorus, Fish announces, "Fast feed, crystal fever, swarming through a fractured mind." If "The Web" hints at a grain of commercialism, "Garden Party" is a joyous anthem that showcases Marillion at the peak of its powers. Bogged down by some hilariously over-the-top British poetry, "Chelsea Monday" may be one of the album's lesser moments (if there are any), but the magical "Forgotten Sons" concludes the opus magnificently. Luckily for Marillion fans, EMI released a remastered version of Script with two different versions of "Market Square Heroes," "Three Boats Down from the Candy," "Grendel," "Chelsea Monday," the demo of "He Knows You Know," and an alternate track titled "Charting the Single." A vital piece for any Marillion head and an essential work for any self-respecting first- or second-generation prog rock fan. © John Franck /TiVo
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Progressive Rock - Released September 23, 2016 | earMUSIC

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Progressive Rock - Released May 10, 2021 | earMUSIC

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Progressive Rock - Released June 22, 1987 | Rhino

Written and conceived during a period of inner-band turmoil, Clutching at Straws would prove to be Fish's swan song, and perhaps Marillion's most unheralded masterpiece. Teaming up once again with producer Chris Kimsey, Clutching at Straws showcases some of the band's most satisfying compositions, including the magnificent "Warm Wet Circles" and "That Time of the Night (The Short Straw)." Bookended by Fish's disgust with not only himself, "Torch Song," but also with the burgeoning neo-Nazi uprising in Europe, "White Russian," the great Scot delivers an inspired condemnation. The commercial pomp and circumstance of "Incommunicado" also gives way to a self-parodying confessional inspired by Fish's inability to see himself as a bona fide rock star and celebrity ("I want to do adverts for American Express cards, talk shows on prime time T.V."). Tour opener "Slainte Mhath" is simple and elegant, building to its dramatic crescendo only to be upstaged by "Sugar Mice" -- quite simply, one of Marillion's best commercial singles ever. The album's stunning closer, "The Last Straw," is Fish's self-realization that yes, the band is not only over, but that in his mind, it's null and void ("and if you ever come across us, don't give us your sympathy"). Steve Rothery's blinding guitar solo brings the whole thing down to a crashing finish (prophetically, announcing his arrival as the band's true musical instigator on subsequent Fish-less records). © John Franck /TiVo
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Progressive Rock - Released March 9, 2018 | Rhino

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Progressive Rock - Released November 29, 2019 | earMUSIC

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Progressive Rock - Released July 27, 2018 | earMUSIC

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Marillion belongs to these British bands formed during the most eclectic 80s. Sailing between neo progressive rock, new wave and pop, they have often been labeled as Genesis’ clones. And yet, Fish’s unique voice has rocked lots of people with the famous Fugazi, before making way for his successor Steve Hogarth. In October 2017, Marillion recorded its 64th production during its concert at the Royal Albert Hall via the label earMUSIC. All One Tonight (Live at the Royal Albert Hall) is thus the result of a 40 year long career and remarkable albums such as Script for a Jester's Tear in 1983, Misplaced Childhood in 1985, or more recently in 2016, FEAR… Giant screens, light beams in your eyes, a meticulously calibrated show and a pitch-black room: here is the emotional bomb at the heart of the famous London concert hall. For this exceptional performance, Marillion presents in the first act the entire FEAR album. Then, it’s an ensemble composed of a string quartet, a horn and a flute named In Praise Of Folly that joins them on stage. It’s a novelty that brings more depth. On El Dorado, Hogarth’s sensitive and fragile voice starts the show. With light and linked transitions, this is a concerto that lasts 19 minutes. Everything is nuances and intensity, and whispering isn’t anecdotal. Nothing is left out. Marillion always plays with maintaining the elements and letting go, a wild and rather unpredictable side that makes it unique. Permanently moving, these Brits go from classic rock to acoustic melodrama, but also take inspiration from psychedelic tones with a cosmic dimension. © Anna Coluthe/Qobuz
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Progressive Rock - Released September 29, 1997 | Parlophone UK

After Fish's departure, Marillion teetered on the brink of collapse: The frontman's distinct voice and poetic prose made him the defining member of the band. One can only imagine how record executives held their collective breath as Steve Hogarth was brought in to take the reins. His first outing with band, 1989's Season's End, removed all doubts about the band's future. Hogarth's unique, expressive voice fit Marillion perfectly; on the full-throttle rock assault of "The Uninvited Guest" or the emotional "After You," Hogarth's singularity is unmistakable. The heartfelt "Easter," with its imaginative electric-acoustic arrangement, is another showcase for Hogarth's talents. Marillion's ability to write music whose ideals live and breathe in the listener continues on Seasons End, particularly on the inspiring "Holloway Girl," which dissects the injustice of incarcerating mentally ill female inmates (at England's Holloway Prison) instead of placing them in appropriate psychiatric facilities. The beautiful "Easter" is the band's plea for peace in Ireland, while "The King of Sunset Town" has its lyrical roots in the massacre at Tiananmen Square. Hogarth's flexible range and beautiful phrasing shine on the entire album. In 1999 Marillion released a remastered version of Seasons End, including a bonus disc of outtakes and alternate versions as well as the previously unreleased "The Bell in the Sea" and "The Release." Both are strong tracks and are welcome additions to the Marillion catalog. While 1995's Afraid of Sunlight is the peak of Marillion's growing, impressive body of work, Season's End shouldn't be missed either. © Jeri Montesano /TiVo
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Progressive Rock - Released November 23, 2018 | Parlophone UK

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Progressive Rock - Released January 20, 2017 | earMUSIC

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This live set was recorded at the Marillion Weekend at Center Parcs, Port Zelande, Netherlands on March 21, 2015. The event happens every couple of years, and over its three evenings, the group plays at least one -- if not two -- of its studio albums in full. For instance, while this date features the entire Marbles album (its complete double-disc version), Marillion performed the entire Anoraknophobia recording on the evening before. The last, Singles Night, featured performances of singles from the Fish era to the present. Marbles in the Park is available as a double disc and a double DVD/Blu-ray. It is the only one of these three concerts available from commercial retail outlets; the other two can be purchased solely from the band's website. Musically, Marbles is one of Marillion's most discussed recordings and might be considered an odd choice for a retrospective concert. It's moodier and decidedly more laid-back than the albums surrounding it, the aforementioned Anoraknophobia from 2001 and 2007's Somewhere Else. While the visuals available on the video discs certainly add to the power of Marbles in the Park, the stellar sound quality and the band's inspired performance (which clearly feeds off the audience's devotion) combine to deliver a magnificent live album. This is Marillion showcasing the most accessible side of their progressive sound. Vocalist Steve Hogarth is in excellent form delivering the poetic lyrics in "Fantastic Place," "Ocean Cloud," and "Neverland," with commitment and enough authority to get them across as anything but pretentious. On 14-minute opener "The Invisible Man,' his falsetto is gently urged forward by Steve Rothery's startling guitar playing and Mark Kelly's illustrative, painterly keyboards. The rhythm section of bassist Pete Trewavas and drummer Ian Mosley are among the very best in rock -- progressive or otherwise. As a unit, they provide much more than a foundation; they are Marillion's engine. On "You're Gone," amid loops, live drum layers, warm slide guitars, and swirling synths, Hogarth ratchets up the passion in every verse, as the band's backing vocal chorus touches on gospel as well as the Anglican hymn tradition. Trewavas' bassline is songlike throughout; he comes to the fore and shines along with Hogarth at the very end. The encores on disc two include readings of "Out of This World" and "King" from Afraid of Sunlight, and the title track from the 2014's Sounds That Can't Be Made. This may be a document intended for the Marillion faithful -- who are a hardcore as well as critically discerning lot -- but its attraction quotient should appeal to a wide variety of rock fans. In this live presentation, Marbles reaches further than its studio origins to become a nearly transcendent listening experience. © Thom Jurek /TiVo
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Progressive Rock - Released July 21, 2017 | Rhino

After the album-tour-album cycle of Script for a Jester's Tear, Fugazi, and the subsequent Euro-only release of Real to Reel, Marillion retreated to Berlin's Hansa Ton Studios with Rolling Stones producer Chris Kimsey to work on their next opus. Armed with a handful of lyrics born out of a self-confessed acid trip, Fish came up with the elaborate concept for 1985's Misplaced Childhood. Touching upon his early childhood experiences and his inability to deal with a slew of bad breakups exacerbated by a never-ending series of rock star-type "indulgences," Misplaced Childhood would prove to be not only the band's most accomplished release to date, but also its most streamlined. Initial record company skepticism over the band's decision to forge ahead with a '70s-style prog rock opus split into two halves (sides one and two) quickly evaporated as Marillion delivered its two most commercial singles ever: "Kayleigh" and "Lavender." With its lush production and punchy mix, the album went on to become the band's greatest commercial triumph, especially in Europe where they would rise from theater attraction to bona fide stadium royalty. The subsequent U.S. success of "Kayleigh" would also see Marillion returning to the States for a difficult tour as Rush's support act. © John Franck /TiVo
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Progressive Rock - Released November 28, 1988 | Parlophone UK

1988's The Thieving Magpie is a sprawling double-disc live set which manages to tie up virtually all the loose ends from Marillion's years with charismatic frontman Fish. Like 1984's Real to Reel mini live album, Magpie offers mostly sterling performances packed with both feeling and technical precision, which often times manage to better their studio counterparts thanks to their road-worthy fluidity. But unlike that seamlessly assembled mini live album, it does suffer from the occasional silence between tracks, or even noticeable variations in sound quality, crowd noise, and general ambiance. Sure, most listeners won't give a hoot about such details when faced with the sheer creative breadth (some would say absurdity) of such Marillion magnum opuses as "Fugazi," "Script for a Jester's Tear," and "Chelsea Monday" to name but a few. First-time listeners should be advised against starting their Marillion collection with this challenging release (or risk their brains exploding like water balloons); but with the inclusion of a complete performance of the band's greatest masterpiece, Misplaced Childhood, Magpie becomes a real treat for serious fans. © Eduardo Rivadavia /TiVo
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Progressive Rock - Released March 23, 2018 | earMUSIC

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Progressive Rock - Released April 22, 2013 | Parlophone UK

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Progressive Rock - Released March 2, 1998 | Parlophone UK

Faced with flagging sales on their first post-Fish release Season's End, progressive rockers Marillion paired themselves with pop producer Christopher Neil for 1991's Holidays in Eden. It wasn't exactly a move that paid either commercial or artistic dividends, as the results are so diluted and bland that one can only hope this was a desperate attempt to appease their label. There were several singles that charted in the U.K., but they could have been performed by anyone or, worse, in the case of the ringing guitars on "Cover My Eyes," it sounds as though they want to reinvent themselves as U2. It's a record that will surely disappoint fans of their more progressive work and, lacking a distinctive personality, hardly elicit excitement from newcomers. © Tom Demalon /TiVo
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Progressive Rock - Released June 22, 1987 | Parlophone UK

Written and conceived during a period of inner-band turmoil, Clutching at Straws would prove to be Fish's swan song, and perhaps Marillion's most unheralded masterpiece. Teaming up once again with producer Chris Kimsey, Clutching at Straws showcases some of the band's most satisfying compositions, including the magnificent "Warm Wet Circles" and "That Time of the Night (The Short Straw)." Bookended by Fish's disgust with not only himself, "Torch Song," but also with the burgeoning neo-Nazi uprising in Europe, "White Russian," the great Scot delivers an inspired condemnation. The commercial pomp and circumstance of "Incommunicado" also gives way to a self-parodying confessional inspired by Fish's inability to see himself as a bona fide rock star and celebrity ("I want to do adverts for American Express cards, talk shows on prime time T.V."). Tour opener "Slainte Mhath" is simple and elegant, building to its dramatic crescendo only to be upstaged by "Sugar Mice" -- quite simply, one of Marillion's best commercial singles ever. The album's stunning closer, "The Last Straw," is Fish's self-realization that yes, the band is not only over, but that in his mind, it's null and void ("and if you ever come across us, don't give us your sympathy"). Steve Rothery's blinding guitar solo brings the whole thing down to a crashing finish (prophetically, announcing his arrival as the band's true musical instigator on subsequent Fish-less records). © John Franck /TiVo
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Progressive Rock - Released January 1, 2013 | earMUSIC

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Progressive Rock - Released September 29, 1997 | Parlophone UK

At the time, Marillion's remarkable, full-fledged 1983 debut Script for a Jester's Tear was considered an odd bird: replete with Peter Gabriel face paint and lengthy, technical compositions, Marillion ushered in a new generation of prog rock that bound them forever to the heroics of early day Genesis. Intricate, complex, and theatrical almost to a fault, Script for a Jester's Tear remains the band's best and sets the bar for their later work. Filled with extraordinary songs that remained staples in the band's live gigs, the album begins with the poignant title track, on which Fish leads his band of merry men on a brokenhearted tour de force that culminates with the singer decrying that "…the game is over." "He Knows You Know,," a song sprinkled with drug paranoia and guilt; as the song veers to its chorus, Fish announces, "Fast feed, crystal fever, swarming through a fractured mind." If "The Web" hints at a grain of commercialism, "Garden Party" is a joyous anthem that showcases Marillion at the peak of its powers. Bogged down by some hilariously over-the-top British poetry, "Chelsea Monday" may be one of the album's lesser moments (if there are any), but the magical "Forgotten Sons" concludes the opus magnificently. Luckily for Marillion fans, EMI released a remastered version of Script with two different versions of "Market Square Heroes," "Three Boats Down from the Candy," "Grendel," "Chelsea Monday," the demo of "He Knows You Know," and an alternate track titled "Charting the Single." A vital piece for any Marillion head and an essential work for any self-respecting first- or second-generation prog rock fan. © John Franck /TiVo