Marillion – Script For A Jester’s Tear (1983)

FrontCover1Script for a Jester’s Tear is the debut studio album by British neo-progressive rock band Marillion, released in the United Kingdom on 13 March 1983 by EMI Records. The album reached number seven and spent 31 weeks in the UK Albums Chart, eventually achieving a platinum certificate, and produced the Top 40 single “He Knows You Know” and the Top 20 single “Garden Party”.

Script for a Jester’s Tear is the only studio album by Marillion to feature the band’s original drummer and founding member Mick Pointer, who was dismissed following the album’s UK tour. In Martin Popoff’s 2016 biography of Yes, the album is credited with being part of a “new wave” of British progressive rock which also helped to give a second life to earlier bands.

Marillion released their first single, “Market Square Heroes”, on 25 October 1982. It was a minor hit, peaking at number 53 on the UK Singles Chart. It was produced by David Hitchcock, who was also contracted to work on the group’s first full-length album. However, he was heavily injured in a car accident when he drove home after completing work on the single. EMI took advantage of the opportunity and persuaded the group to replace him with Nick Tauber, a producer known for his work with new wave band Toyah and regarded by the record label as more modern.

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Neither “Market Square Heroes”, nor the B-sides of the 12″ single, “Three Boats Down from the Candy” and the 17-minute-long epic “Grendel”, were included on Script for a Jester’s Tear, although a short radio segment of the A-side can be briefly heard prior to “Forgotten Sons”. As stated in the original liner notes, the music from the album was composed, arranged and performed by Marillion and the lyrics were written by Fish alone. However, in the 1997 remastered edition, four out of six songs are additionally credited to bass player Diz Minnit and keyboard player Brian Jellyman, who were both the initial members of the group. The recording sessions for the album started in December 1982 at The Marquee Studios in London and finished in February 1983, with Tauber producing and Simon Hanhart engineering.

The cover artwork was designed by Mark Wilkinson, who would be commissioned to the role on all Marillion releases through The Thieving Magpie (1988).

Script for a Jester’s Tear was released in the United Kingdom on 13 March 1983 by EMI on vinyl housed in a gatefold sleeve. In the United States, it was available through Capitol Records.

Fish

Dave Dickson in his review for Kerrang! said that “as a debut album this [Script for a Jester’s Tear] is extremely impressive, fully living up to the band’s previous promise”. John Franck has given the album a retrospective rating of four-and-a-half stars out of five on AllMusic. He has called it “a vital piece for any Marillion head and an essential work for any self-respecting first- or second-generation prog rock fan”.

Script for a Jester’s Tear was a commercial success, reaching number 7 in the United Kingdom and spending 31 weeks on the charts, the second-longest album chart residency for Marillion. It was awarded a platinum certification by British Phonographic Industry on 5 December 1997 for over 300,000 copies sold. In the United States, however, it failed to make any impact, peaking at number 175 on the Billboard 200 chart.

The album generated two hit singles in the United Kingdom. The first single, “He Knows You Know”, preceded the release of Script for a Jester’s Tear and launched the group into the Top 40, reaching number 35. The second single, “Garden Party”, was released on 6 June 1983 and became even more popular, peaking at number 16. “He Knows You Know” gained some airplay in the United States and reached number 21 on the Billboard Mainstream Rock chart. (by wikipedia)

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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.”

Mark Wilkinson

“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. (by John Franck)

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Personnel:
Derek William Dick “Fish” (vocals)
Steve Rothery (guitar)
Pete Trewavas (bass)
Mark Kelly (keyboards)
Mick Pointer (drums, percussion)
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Marquee Club’s Parents Association Children’s Choir (choir (on 06.)
Peter Cockburn (newscaster’s voice (on 06.)

Singles

Tracklist:
01. Script For A Jester’s Tear 8.43
02. He Knows You Know 5.24
03. The Web 8.52
04. Garden Party 7.20
05. Chelsea Monday 8.18
06. Forgotten Sons 8.24

Music: Derek William Dick “Fish” – Steve Rothery – Pete Trewavas – Mark Kelly – Mick Pointer Derek William Dick “Fish”

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Prog Issue 104

I add a long article about this album, from the Magazine “Prog” called
“How Marillion made Script For A Jester!

Various Artists – Reading Rock – Volume One (1982)

lpfrontcover1The twenty second festival possibly had a more attractive lineup than 1981, at least if one was a heavy rock devotee. The inclusion of hard rock guitar stalwarts Gary Moore, Randy California, southern rockers Blackfoot and erstwhile pub rockers Dave Edmunds and Wilko Johnson gave the lineup spine that was missing from the previous year.

   The headliners were also a tad more prestigious. The Scorpions/UFO former lead guitarist Michael Schenker, whose repertoire veered into the sort of metal jazz/rock territory inhabited by Jeff Beck- as well as delivering more predictable hard rock fare -gave Sunday night a touch of class .
   Budgie and Iron Maiden were guaranteed to deliver an exciting hard rock show, regardless of whether one thought of them as innovators within the genre or not. Maiden’s credentials were reinforced by the presence of Bruce Dickinson , the erstwhile Samson lead vocalist , who had taken over the vocal spot from Paul Di’Anno .
   All three of these artists were recorded by the venerable BBC and broadcast on the Radio One Friday night rock show in 1983 .
ironmaiden
Iron Maiden
Once again, Reading delivered a mid range experience for the punters , no top end acts like Pink Floyd or the Stones which needed a mega crowd to return the organisers a profit, but a solid workmanlike bill that would leave the attendees satisfied in the main . This was what Reading was about at the time, but the formula was about to change , as 1983 would be the last Reading for several years, at long last , the never ending story was about to come to a ( temporary ) stop (by ukrockfestivals.com)
It is strange that Mean Records chose to include a couple of tracks that weren’t actually from the 82 Festival – Whitesnake’s recording was from the 79 Festival and UFO’s from 1980. Yet, they neglected to include tracks from bands that did perform like – Iron Maiden, Gary Moore and Tygers of Pan Tang. Below is the (almost) correct running order of the 1982 Reading Festival, taken from the official festival program. Perhaps they had intended to release a Volume Two (based on the name for this release – Volume One) but as far as I can gather this did not happen. (by Mr. AussieRock)
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Michael Schenker
I add ten more songs from this great Festival (thanks to rockonvinyl.blogspot.de)
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Tracklist:
01. Whitesnake:  Walking In The Shadows Of The Blues (Coverdale/Marsden) 4.40
02. Terraplane: I Want Your Body (Morley)  5.47
03. Marillion: He Knows You Know (Marillion) 4.46
04. Jackie Lynton: Slow Rider (Lynton/White) 4.46
05: Budgie: Superstar (Shelley/Thomas) 4.07
06. Bernie Marsden: S.O.S. (Marsden/Hawthorn) 4.42
07. Chinatown: I Wanna See You Tonight (Chinatown) 3.58
08. Randy California:  Come On Woman (California) 4.07
09. Stampede: There And Back (L.Archer/R.Archer/Bond) 5.44
10. Twisted Sister: Shoot ‘Em Down (Snider) 5.07
11. Michael Schenker: Attack Of The Mad Axeman  (Schenker/Barden) 4.31
12. Marillion: Three Boats Down From The Candy (Marrilion) 4.40
13. Terraplane: Turn Me Loose (Morley) 4.13
14. Just Good Friends: You Really Got Me (Davies) 4.27
15. UFO: Hot And Ready (Schenker/Mogg) 3.25
16. Budgie: Panzer Division Destroyed (Shelley/Thomas) 6.20
17. Grand Prix: Keep On Believin’ (Lanzon/O`Donoghue) 5.10
18. Spider: All The Time (Burrows/Harkness) 4.07
19. Chinatown: Caught On The Wrong Side (Chinatown) 4.24
20. Jackie Lynton; Hedgehog Song (Lynton) 4.57
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21. Gary Moore: Nuclear Attack (Moore) 5.27
22. Iron Maiden: Wrathchild (Harris) 3.32
23. Praying Mantis: Nightmares (C.Troy/Potts/Carroll/T.Troy) 3.01
24. Tygers Of Pan Tang: Blackjack (Tygers Of Pan Tan) 3.04
25. Y&T: Black Tiger (Kennemore/O´Conner/Rush/Haze/Alves/Meniketti) 4.14
26. Gary Moore: Parisean Walkways (Lynott/Moore) 5.25
27. Iron Maiden Tush (Beard/Gibbons/Hill) 6.05
28. Praying Mantis: Flirtin’ With Suicide (C.Troy/Potts/Carroll/T.Troy) 5.28
29. Tygers Of Pan Tang:
Slave To Freedom (Cox/Dick/Weir) 5.18
30. Y&T: Forever (Kennemore/O´Conner/Rush/Haze/Alves/Meniketti) 5.47
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Marillion – Misplaced Childhood (1985)

FrontCover1Misplaced Childhood is the third studio album by the British neo-progressive rock band Marillion, released in 1985.

Recorded during the spring of 1985 at Hansa Tonstudio in Berlin and produced by Chris Kimsey, who had previously worked with the Rolling Stones, Misplaced Childhood has been the group’s most successful album to date, peaking immediately at number one in the UK charts, spending a total of 41 weeks on the chart, and ultimately gaining the Platinum status. It features Marillion’s two most successful singles, the guitar-led rock ballad “Kayleigh”, which reached number two in the UK, and piano-led “Lavender” which peaked at number five.

The album’s positive reception included its selection as one of the best of 1985 by rock publications Sounds and Kerrang!. It was later named one of the best concept albums of all time by Classic Rock. According to John Franck from AllMusic, the album was the band’s “most accomplished” and “streamlined” work to date, while Ultimate Classic Rock has called it “the cornerstone of the entire ‘neo-prog’ movement”.

Misplaced Childhood was Marillion’s first full concept album consisting of two continuous pieces of music on the two sides of the vinyl record. In live performances preceding the album Fish had originally claimed as a teaser that the next album would consist of only two tracks, “Side 1” and “Side 2”. Then, during the Misplaced Childhood tour Fish would announce, “Now there is time for one more track… the name of the track is ‘Misplaced Childhood'”, and the band performed the entire album in sequence.

“I was in ‘Padres Bay’ when suddenly I felt a child standing behind me on the stairs. I knew he was dressed as a soldier and vanished as soon as he entered the corner or my eye. Perhaps it was my muse; perhaps it was the drug. It was enough to propel me into reaming off a large scrawl of prose.” (Fish)

Singles

The story has thematic elements of lost love, sudden success, acceptance, and lost childhood, along with an upbeat ending. As Fish explains, he conceived the concept during a 10-hour acid trip.

Several of the songs and titles contain notable autobiographical references, for example, “Kayleigh” references breakdown of relationships as a whole but is centered around a Fish’s past girlfriend named Kay Lee. The name Kayleigh was thought of by Fish to slightly obscure the original name due to the song being too personal. Another example is “Heart of Lothian” (“I was born with the heart of Lothian”) which is a reference to a traditional region of Scotland – Fish himself being from Midlothian – and a reference to the Heart of Marillion01Midlothian (Royal Mile) – a mosaic heart in the pavement of Edinburgh’s Royal Mile.

The theme of childhood is developed in “Lavender” which is partly based on the traditional folk song “Lavender Blue”. Like “Kayleigh” it is a love song, but whereas “Kayleigh” was about the failure of an adult relationship, “Lavender” recalls the innocence of childhood.

Like Script for a Jester’s Tear and Fugazi, the original vinyl edition of Misplaced Childhood was released in a gatefold sleeve. The album design was created by Mark Wilkinson who was commissioned to the role on all Marillion albums and 12″ singles of the Fish-era.

The front cover features a soldier drummer portrayed by Robert Mead, a then ten-year-old boy who lived next door to Wilkinson. Mead also appeared on the artwork of the album’s three hit singles, “Kayleigh”, “Lavender”, and “Heart of Lothian”, and can be seen in the music video for “Kayleigh”. The Jester from the two previous studio albums is imagined escaping through the window on the back cover.

Misplaced Childhood was released in the United Kingdom on 17 June 1985 by EMI Records on LP, 12″ picture disc and cassette and went on to be the band’s biggest selling album. It topped the UK Albums Chart, becoming the first and the only Marillion album to do so. It stayed on the charts for 41 weeks, the longest chart residency of any of the band’s albums.[11] Misplaced Childhood was certified Platinum by the BPI for sales in excess of 300.000 copies on 26 November 1985 just 5 months after the release. It was the 20th best selling album in the United Kingdom for 1985.

The album was also highly successful across mainland Europe reaching number 3 in Germany, number 6 in Switzerland and the Netherlands, the country where Marillion have one of their largest fanbases, number 10 in Norway. In the United States Misplaced Childhood came out on the Capitol Records label and reached number 47 on the Billboard 200 chart, the highest position the band has ever achieved.

Illustration

Three singles, “Kayleigh”, “Lavender”, and “Heart of Lothian” were released, with the first preceding the album. “Kayleigh” peaked at number 2 in the UK Singles Chart turning out to be the biggest hit for Marillion and prompting the success of Misplaced Childhood. The two further singles were less successful but still ended up at high positions as “Lavender” reached number 5[6] and “Heart of Lothian” peaked at number 29.

In April 2015, it was announced that Fish would be performing a 30th anniversary tour of Misplaced Childhood, playing the album in full for the very last time. (by wikipedia)

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The Picture Disc

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. (by John Franck)

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Personnel:
Derek William “Fish” Dick (vocals)
Mark Kelly (keyboards)
Ian Mosley (drums, percussion)
Steve Rothery (guitar)
Pete Trewavas (bass)

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Tracklist:
01. Pseudo Silk Kimono 2.15
02. Kayleigh 4.04
03. Lavender 2.28
04. Bitter Suite 7.53
04.1. Brief Encounter
04.2. Lost Weekend
04.3. Blue Angel
04.4. Misplaced Rendezvous
04.5. Windswept Thumb
05. Heart of Lothian 4.08
05.1. Wide Boy
05.2. Curtain Call
06. Waterhole (Expresso Bongo) 2.13
07. Lords Of The Backstage 1.53
08. Blind Curve 9.30
08.1. Vocal Under A Bloodlight
08.2. Passing Strangers
08.3. Mylo
08.4. Perimeter Walk
08.5. Threshold
09. Childhoods End? 4.33
10. White Feather 2.24

All lyrics written by Fish, all music composed by Mark Kelly, Ian Mosley, Steve Rothery and Pete Trewavas.

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Front+BackCover

Marillion – Real To Reel (1984)

FrontCover1 Featuring the best material from their first two albums as well as their classic debut single “Market Square Heroes,” 1984’s Real to Reel is an excellent live document of Marillion, the undisputed leaders of the short-lived mid-’80s progressive rock revival. In fact, these recordings make a strong case for the many fans who actually prefer the band’s more refined live versions over their rather flat studio counterparts. For the uninitiated, Marillion basically picks up where Peter Gabriel-era Genesis left off, writing complex, multifaceted, and unashamedly overblown compositions topped with dense, often incomprehensible lyrics from vocalist Fish. Thematically, the darkly ironic “Assassing” and the flippant “Garden Party” are complete polar opposites and clearly display the band’s incredible creative scope. But the album’s centerpiece has to be the dramatic, ten-minute war chronicle “Forgotten Sons.” (by Eduardo Rivadavia)

Tracks 1–4 recorded at the Spectrum in Montreal, Canada on 19–20 June 1984
    Tracks 5–7 recorded at De Montfort Hall in Leicester, England on 5 March 1984

BackCover1Personnel:
Fish (vocals)
Ian Mosley (drums)
Mark Kelly (keyboards)
Steve Rothery (guitar)
Pete Trewavas (bass)

Booklet1Tracklist:
01. Assassing 7.29
02. Incubus 8.43
03. Cinderella Search 5.45
04. Emerald Lies 5.28
05. Forgotten Sons 10.36
06. Garden Party 6.32
07. Market Square Heroes 7.32

All songs written by Fish – Ian Mosley – Mark Kelly – Steve Rothery – Pete Trewavas

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