Customer Reviews

Script for A Jester's Tear

5 star:		(32)
4 star:		(14)
3 star:		(7)
2 star:		(0)
1 star:		(0)

 

 

I can remember the guy at our local Record store telling me about this "new band" in England who were really good. Evidently all the Iron Maiden fans were into them, they were called Marillion. So I listened to this album and from the first notes thought, sounds more like Peter Gabriel back with Genesis to me, being a big Genesis fan I thought... I'll take it!

Listening to it at home that night, the first track made me think of what would have been the first new track after the "Lamb lies down on Broadway", it just sounded so Gabriel period Genesis. By the end of the album I played it again it was fantastic one of the best albums I had ever heard. The lead singer (Fish) was very emotional both lyrically and in his vocal style - and also sang with great passion. Guitarist Steve Rothery seemed very talented and at times reminded me of Steve Hackett (who was in Genesis from 1971 - 1977). Mark Kelly - Keyboards was also very accomplished, as was drummer Mick Pointer on drums and Pete Trewavas on Bass (who would also join up with Mike Portnoy (Dream Theater), Neal Morse (Spock's Beard) and Roine Stolt (Flower Kings) to form a superb "sideline" band called "Transatlantic" in 2001).

Certainly the intensity and emotion of the lyrics / vocals and music combined were captivating to me and it was an album that I played over and over and seemed to find something new in each listening. The songs build beautifully and contain a number of changes (of the 6 tracks 4 are over the 8 minute mark (Script for a Jesters Tear / Chelsea Monday / The Web / Forgotten Sons), Garden Party clocks in at 7 minutes. (The shortest track is "He Knows You Know" at just over 5 minutes). The title track was a highlight for me together with the song about drugs - "He knows You Know", "Garden Party" (which would go on to become an in concert favourite) and "Forgotten Sons" (which reminded me a lot of "The Knife" from Genesis (from Tresspass - 1970). "The Web" is a very well put together track with "Chelsea Monday" providing brilliant guitar work (both electric and acoustic) and again very well put together, very emotional.

In summary, a stunning debut album from a band that sounded so "Gabriel style Genesis" to me that had Genesis released it I would have been over the moon. It is really that good. Fish's lyrics and powerful vocal delivery together with Steve Rothery's exceptional electric and acoustic guitar work really carry this album to another level.

For me this is an extremely enjoyable album from start to finish. I enjoy listening to it as much today as I first did almost 24 years ago. I hope you enjoy it as much as I do, it's superb.

While Marillion were always dogged by the Genesis Clone label, they really were an excellent band in their own right. The quality of the songwriting and musicianship is particularly strong on this, their magical debut.

The first thing to grab you about Marillion is the haunting cover art of the superb Mark Wilkinson, who continued to work with fellow genius, Fish, after the big fella left Marillion. (Their lavishly illustrated book Masque is an absolutely essential purchase.)

Script is one of those rare albums where every single track is a classic. Yet this double CD version is most definitely the one to go for, as Disc 2 contains further indispensible classics, such as Market Square Heroes (2 versions), the breathtaking Three Boats Down From The Candy (which perhaps more than any other track truly encapsulates the very core of Fish-Marillion's magic) and the epic Grendel, which has been described as their Supper's Ready.

Just as Genesis carried on in name only when Peter Gabriel left, so too Marillion continued to (legitimately) use the name after Fish moved on. However, in each case, however well the remaining band members rallied and put out solid albums, a large part of the original magic left with the lead singers.

If you only ever buy one Marillion album, let this be it... but... why stop at only one?

I agree with reviewer Jorge that it is sad there had been no previous reviews of such a fine and defining album. It would be a tragedy if the original band and this magical album should be forgotten.

When the 1970's turned into the 1980's, the leading progressive rock bands of the day felt they had to evolve. Genesis ditched their complex technical noodlings and turned into a pop band; Pink Floyd imploded and ground to a halt; Rush blazed an intelligent path into complete obscurity; and Yes, well, Yes became No, frankly.

Into the gap, then, stepped Marillion. Script for a Jester's Tear was their debut, the first of five thoughtful, well crafted affairs, followed by another half dozen anonymous and turgid ones (after Fish left). 'Script' captures the musicianship and the spirit of Marillion perfectly, complete with flashy keyboard and guitar solos and unfathomable lyrics. Garden Party seemed an unlikely hit single, but you have to remember that in those days there really wasn't anyone else making this kind of music, and Marillion won the kind of fan base that's prepared to stay the course through thick and thin. Perhaps that's they key to Marillion: if you're a fan, you're probably a HUGE fan. Marillion's music always seemed to be meanighful, personal, something to be lived in.

Accusations of sounding like Genesis are unfair - Marillion were what Genesis never managed to become. If you like, Marillion represent what Genesis might have become if Peter Gabriel hadn't left. Anyway, 'Script' still sounds superb after 17 years, which testifies to the immense musical talent within the band. Producer Nick Tauber (who had previously worked with the likes of Thin Lizzy back in the seventies) excelled himself here, giving the album a depth and atmosphere that suited the band perfectly.

As for the second CD - a collection of alternative versions and B-sides - it's an interesting document of the band's early days but not something for the casual listener. Market Square Heroes and Three Boats Down From the Candy are superb, presented here in their original versions (rather than the re-recorded and rather bland versions reissued some years later, and available on the 'Bsides Themselves' album). The version of Grendel here isn't a patch on the 'proper' version, sounding amateur and a bit unrehearsed, with all the interesting musical bits not yet dreamt up. Chelsea Monday and He Knows You Know are truly dismal affairs - stick to the finished items on the album proper - while Charting the Single was always a good track, if a little tongue-in-cheek. In summary then, the album itself is indispensible, but don't pay a fortune to get the extra CD.

Script for A Jester's Tear is one of my all-time favorite albums. I first picked this up in spring of 1983 after hearing "He Knows You Know" on Cleveland radio station WMMS. From the title track to "Forgotten Sons" this release just blew me away. I hear something new everytime I listen to this album. The 2-cd remastered release is a nice package and worth the extra money.

In the genre of prog rock, one of the norms is that debut albums tend to be rougher in terms of their sound, with more "edges" in a sense. Granted that Marillion came out with very clear influences (a musical advantage, so to speak) stemming from Pink Floyd, Genesis, Yes and even King Crimson, this, their debut album sounded very polished, serving as an exquisite musical framework to Fish's very particular lyrics and voice.

Though the band in their Fish period has been almost inextricably tied to the Scottsman (so much, that when he departed in 88, most people deemed them doomed to breaking up), the strength of the band beyond Fish has been present in their music since day one, giving enough room for each member to contribute to his fullest. An example of this are the guitar solos Steve Rothery delivers for the opening track and "Chelsea Monday," Mark Kelly's upbeat keyboards in "Garden Party," Pete Trewavas' characteristic bass line all through "Chelsea Monday" hand in hand with Rothery's mourning guitar and even the drum work of short-lived Marillion member Mick Pointer (he would only be a part of the band until the recording of this album).

The way I see it, this album, along with their "single" prior to it ("Grendel," which fortunately is part of the Disc 2 on this remastered edition of the original 1983 album) constitute the band's formal tribute to their predecessors, serving as a musical platform for what the band would later show to the world, peaking in 1986 with the genius of the concept album 'Misplaced Childhood,' which introduced most of the bands fan base to them, thanks to the more radio-oriented single "Kayleigh." In a sense, after 'Script...' the comparisons between them and the groups that influenced them more directly would become more subtle, making room in the fans' ears and hearts for what would become the Marillion sound.

.... Script for a Jester's Tear was the most notable forerunner of the neo-prog development.

Often derisively referred to as "prog-lite," neo-prog was much more rich and melodic than your average rock music, but not quite the ostentatious extravaganzas that Yes and Genesis were producing in their heyday. The focus on emotionally deep or insightful lyrics and intricate, dynamic, and theatrical pieces of music were common qualities, I'd say. To me, "Script for a Jester’s Tear," this album's title track, is the definitive neo-prog song. Beginning with an ominous intro consisting of just piano and voice, it then proceeds to move through different tones and movements like a prog epic. A bouncy synth line falls into a moment of emotional desperation, conveyed oh so well by Steve Rothery's marvelous guitar. After a delicate and solemn passage, the emotional climax hits like a ton of bricks, with Fish's emotion-packed query "Can you still say you love me?" atop a layer of cool synths and harpsichords carrying the song to the end.

The song is absolutely outstanding...my meager words can't do it justice. It encapsulates everything that was great about Marillion w/Fish. Fish's ability as a wordsmith and poet would put just about any "real" poet to shame. Rothery's guitar sings with all the emotion of, well, a singer! His heartbreaking solos and even just his perfect sense of atmosphere make him one of the best guitarists alive. ....Mark Kelly, on keyboards, couldn't floor you with a solo like Rick Wakeman, but he new how to create an added level of emotion with simple subtleties. Marillion,be it with Fish or Hogarth (I'm a big fan of both), was never a band about showing off...it was about beauty in music, emotional contact, and memorable songs.

The other songs are all excellent, not quite as good as the title track, but "Chelsea Monday" and "Forgotten Sons" are pretty close. The end of "Forgotten Sons" is stunning, especially. The songwriting has held up remarkably after all these years, which is a sign of great music. The production is dated though, even with the remaster...some high notes are a bit harsh, and the drums are obnoxiously loud in the mix (snare drums shouldn't sound like that). Nonetheless, given the quality of the music and the time this was recorded, the production inadequacies can be forgiven.

This remastered edition is especially great because it features the Fish-Marillion's epic, "Grendel." It's a 20 minutes piece, and tends to remind one of a bit of "Supper's Ready." Originally found as a b-side of Market Square Heroes, this important song sits alongside other rarities, like "Charting the Single" and "Three Boats Down from the Candy." The bonus disc is great, all in all, and important for a more complete understanding of this great band.

This album is one of the best albums of the 80's (and, in my opionion, Marillion's best). Marillion was one of a handful of British groups that took up the progressive rock style when all the classic bands (Genesis, Yes, Tull, etc.) were going for more of a mainstream rock sound. What this means is you get an album of epic songs (7 minute average rather than 3), poetic lyrics, musical ambition, and fantastic keyboard playing.
Although accused of "sounding too much like early Genesis", Marillion actually sounds less like them than most of the other neo-prog bands. First of all, Marillion has a strong, punchy, 80's sound that is a nice variant on the prog theme - at times they're even almost heavy metal (for the 80's, Marillion and Iron Maiden seemed to be your best bet for nice, melodic, energetic instrumental passages), although the keyboard-rich sound gives them a different sound than metal. Lead singer Fish reminds one of early 70's Peter Gabriel, but Fish is a much stronger singer - savage and over-the-top, with florid rolled "r"s (he kind of reminds me of Van Der Graaf Generator's singer Peter Hammill, too). Unfortunately, Fish toned down his singing soon after this album, but it was fantastic here and (to a lesser degree) on "Fugazi". Guitarist Steve Rothery is more reminiscent of Pink Floyd's David Gilmore than Genesis's Steve Hackett, he has that lovely feel that really sets him above many others. The lyrics are also distinctive - Fish's topics are more heavy metal than prog (drugs, sex/romance, etc.), but his lyric writing is much more florid and poetic than any metal singer (excepting maybe Fates Warning's John Arch).
My only caveat is, either buy the 2-disc version or pick up "B-sides themselves", because there's almost a whole album of great songs you'll miss out on from this era of the band if you don't ("Three Boats Down From the Candy", "Market Square Heroes", and the 20-minute epic "Grendel" are all as top-notch as the songs on this disc).
Marillion's next CD ("Fugazi") is nearly as good, but after that they never really achieved this sound again - they lost a lot of the energy and edge of this CD, tending towards a mellower, more rambling sound reminiscent of later Pink Floyd, U2, and alternative rock (although with some brilliant stuff on every album, especially "Anoraknophobia").

It's sad to find no reviews on this album, considering it as the peak on the evolution of this group, wich was suddenly and sadly interrupted when Fish decided to leave Marillion. Having other excellent albums, like 'Misplaced Childhood' or 'Fugazi', Clutching at straws shows the total engagement between all members in the band. Fish and his deep and emotional lyrics, and the finesse of all the members as well, shows us the great moment they were through.
If you buy this CD (buy the one with the bonus CD), you will listen what the next album was going to sound like, and you can compare it with 'Seasons End', which has some of the same tracks, but arranged to be played with the new vocalist.
This is my personal favorite album from this outstanding band.
You should get it !!!!

This album truly changed my life. I happend to see Marillion at the legendary Marquee in London by "accident", and was totally blown away. I immidiadetly bought their current release Script... WOW what an experience. I was a Marillion fanatic from that day. I think Script is their absolutely best album. Songs like Chelsea Monday and Forgotten Sons are as close to religious experiences as you can have in music. The extra disc on this re-release is just that, extra, don't pay too much attention to it. It is disc no. one that is important. I am still a die hard Marillion/Fish fan and engulf everything they produce, but Script is still my first and forever love. Dilly Dilly 4 ever

Unless you are a fan of a Particular band, then the chances are that you will not know a thing about their debut album. Within prog. rock circles almost everyone knows something about "Script for a jester's tear." Five of the songs were created through a staggering stage set long before EMI had any interest. An amazing live act that was sure to succeed on vinyl. An album that is now 16 years old shows no sign of aging, especially when listening to the remastered release. Possibly not the definitive Marillion album (check out "Misplaced childhood" or "Brave") no debut album is a band's best. This is very close though. The songs are very well crafted, creating a mixture of emotion. The tragedy of losing a loved one in the title track, the power of "Forgotten sons" and the humour of "Garden party" (still my favourite all time Marillion song) go to make an awe inspiring debut album that todays boy and girl bands should envy.