|1. Script for a Jester's Tear (1997 Digital Remaster)|
|2. He Knows You Know (1997 Digital Remaster)|
|3. The Web (1997 Digital Remaster)|
|4. Garden Party (1997 - Remaster)|
|5. Chelsea Monday (1997 Digital Remaster)|
|6. Forgotten Sons (1997 Digital Remaster)|
Anyway, this is one of the best debut albums I have ever heard, comparable to Tindersticks' first album, dEUS' "Worst Case Scenario" or Puressence's debut.
When this album was released, Marillion had a relative success in the UK, due to the single "Market Square Heroes" (which can be briefly spotted during the radio station tuning in the introduction of the last track - "Forgotten Sons").
The magic starts with the cover - a marvellous painting of a jester's trying to play "Yesterday" (The Beatles) in a violin. Like most progressive rock bands, the cover served as an introduction to the band's own world and took advantage of the vynil format (the back cover and the front cover form a single image).
The start is tremendous. For me, "Script For A Jester's Tear" is still Marillion's best song. The begginning of the song recalls "Dancing With The Moonlit Knight" from the Genesis album "Selling England By The Pound" with the first phrase sung without music (the music starts immediately after the first phrase). The song is divided into four parts. The first is mysterious and mellodramatic and ends with "...the game is over". The second section is very rythmical and the lyrical content is just the repetition of phrases sung in the first part. The third part starts with "I act the role in a classic style" and returns a soft and mysterious mood. The beautiful and unforgettable fourth part is very grandiloquent and starts with "the fool escaped from paradise...". The end is "can you still say you love me?" sung several times, recalling, in a certain way, the ending of another Genesis song: "The Musical Box" (from the album "Nursery Cryme") when Gabriel sings/begs "why don't you touch me?" lots of times.
"He Knows, You Knows" is also a great song. It was the first single of this album and is a shorter and balanced track, more suitable for radio listeners (if all the songs on the radio sounded so good...).
"The Web" is the longest theme and it is also fascinant with lots of different parts and great keyboards by Mark Kelly.
"Garden Party" was the second single. This is Marillion, particulary Fish, showing their sense of humour. It's a joyful melody, very different from most Marillion songs.
"Chelsea Monday" is the album's second best song. The bass (played by Peter Trewavas) is remarkable. It's a slow and subtle song.
"Forgotten Sons" is my least favourite although highly considered by the fans. Nevertheless, it has the Marillion's unique sound.
If you like the "Peter Gabiel Genesis era" you will surely love this album. Yet, Marillion have their personality and are something more than a Genesis copy. Trust me: hear it several times and feel addicted.
For now, I'll cut to the chase - the music. Read more