SCRIPT FOR A JESTER'S TEAR

First taster of Marillion and what an introduction. This album was responsible for the broadening of my Prog horizons and lead me to Genesis, Pallas, Camel, Pink Floyd, Yes and much more. Starting with the title track: Script starts with the haunting piano introduction before the nursery rhyme synth which leads into a quite aggressive stacato drum/synth/bass riff. This is followed by the first Rothery solo. The song changes tack at this point and becomes a vocal lead quiet section. This displays the vocal range of Fish in the early days. Sadly his voice has changed over the years and he is no longer able to sign in this way and live versions are now sung in a much lower key. moody synths and rhythm section carries the song for the next segment which leads to the eventual fade and gives Steve Rothery another chance to show his abilities on guitar. He Knows You Know - the drug song. Short by Marillion's standards and thier second single release. It made the UK top 30. The Web: Rarely performed live this is an epic with strong lyrical style and changing rhythm Another strong Rothery solo adds to the song before Fish sings of realisation that 'changes have to be made' before telling us that they have in fact been made. The song changes from a dark and brooding epic to an almost cheerful synth lead section before Fish tells us his fears have been conquered. Garden Party: The third single for Marillion and quite a big hit at the time in edited format (it made the top 20 in the UK) but this version, which clocks in at over 7 minutes is far superior. Very much lead by Mark Kelly's keyboards and Mick Pointer's drums but interspersed by quiet sections, the song seems to lampoon the 'Cambridge set'. Steve Rothery seems almost relegated to the rhythm section with Pete Trewavas until a synth solo breaks out about two thirds of the way through the song and this then becomes a crystal clear solo from Rothery before we return to the rhythm of the song again and then another short synth solo breaks out again. The final vocal chorus is sung over guitar before the song ends. Still a great song live! Chelsea Monday: A gloomy, laden song full of dark visions of a girls life going down the toilet. Despite this it is still full of somehow beautiful vocal imagery and highlighted by Mark Kellys sensitivity with keyboards and haunting guitar breaks throughout. Not to mention one of Rothery's best solos over yet more haunting synths. This song is still one of the fans favorites but the band refuse to play it. A quiet vocal section leads into passioned plea from Fish describing the futility and faliure of beauty. Rothers finishes the song with another passionate guitar into the fade as Fish tells us 'It's just another Chelsea Monday'. Forgotten Sons:My first memory of Marillion was this song performed on the Old Grey Whistle Test. The sight of Fish in full combats, face painted and using the microphone stand as a snipers rifle will stay with me forever! The song is a powerful statement about how the Government views and treats it's soldiers in Northern Ireland. Full of bite lyrically and musically, this is proably one of Fish's finest moments with Marillion and I don't think he has written anything about the subject of War and the military which has come close to this since. The perception of the band by the mainstream as being Heavy Metal could not be more misplaced. One listen to this album reveals they were anything but heavy metal. Comparisons with early Genesis at the time were largely due to the B'side to thier first single, Market Square Heroes, a certain 17+ minute epic by the name of Grendal. This track turns up on the 2 disc remastered version and is worth a listen and any Genesis fan will note the similarity to another well know track! However, Neo Prog was born with this band as far as the Mainstream was concerned and they remain the best of this style today. The only other comment to make was that Mick Pointer left the band after this album. It is widely reported that EMI felt he was not up to standard for the next album but that was not apparent on Script. Anyone who has heard his recordings with Arena will attest that he is in fact a great drummer and it was a shame that his time with Marillion ended here. A seminal debut album and an essential addition to any prog collection.

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