While preparing a post "recently", I came across the band name Marillion. Specifically, by way of Producer, Chris Kimsey. Unfortunately, I can't remember what post that was, but I do recall it being one of the Psychedelic Furs Spins. This took me down a rabbit hole, somewhat looking into this unknown band, initially mistaking them for drag queen pop star Marilyn.
For those of you who also read my Christmas 2025 posts, you may also recall me getting their entire 80's discography. I admit, this is a habit which has gotten me in trouble before. By that, I mean accumulating albums that after hearing them, I regret making the purchase. Hopefully, that won't happen as I go through their corresponding albums.
Though their first studio album wouldn't come until 1983, Marillion started taking shape in 1977 when Mick Pointer joined the band Electric Gypsy. He would depart shortly thereafter with member, Doug Irvine, and form Silmarillion, named after J.R.R. Tolkien's book. They were joined by Neil Cockle, and Martin Jenner, but this would change by 1979 with the two new editions departing.
The lineup, consisting of Mick Pointer, Steve Rothery, Doug Irvine, and Brian Jelliman, would play their first live show in 1980. It was also around this time that, per Pointer, the name was shortened to Marillion. However, other sources say this occurred in 1981 and was done so to avoid potential copyright claim from Tolkien's estate.
Following an addition at Leyland Farm, Fish (Derek William Dick) and William 'Diz' Minnitt would replace Irvine. This lineup would play their first show in the spring of 1981. By the end of the year, Mark Kelly had replaced Jelliman, with Pete Trewavas replacing Minnitt.
Marillion got the attention of Friday Rock Show, and after playing a session, were signed to EMI Records. This resulted in their first single, Market Square Heroes, which featured what some call, "the 17-minute epic B-side, Grendel." This was followed by their 1983 debut, Script For A Jester's Tear.
With its dark progressive rock sound, the album would become a massive success, peaking at number seven on the UK album charts, and reach platinum status. It would peak even higher in Germany, reaching number five. Though it would crack the top fifty in Sweden, it wouldn't fair as well in other countries. Regardless, Tear did spawn successful singles in the UK; He Knows You Know (peaking at 35), and Garden Party (peaking at 16).
He Knows You Know would also receive mild airplay in the USA, peaking at number twenty-one on the mainstream rock charts. The album would also reach one hundred seventy-five on the Billboard 200.
While Marillion was praised for giving progressive rock a second chance, others would accuse them of being Genesis knockoffs. Playing through their debut, I can understand this assessment. This very much so sounds like the Peter Gabriel era of the far more popular band.
The instrumentation is really good, but for me, I don't hear hits. With songs typically over the eight-minute mark, this is also understandable. These are not radio friendly tracks.
Overall, it was a relatively bland first impression, but I'm still hopeful things will get better as I progress through their albums. If nothing else, I know now what I'm in for, so my ears should be prepared for drawn out rock operas.
After wrapping up their support tour for Script For A Jester's Tear in 1983, the band unceremoniously fired drummer Mick Pointer. That's pretty messed up, considering he was literally the first founding member of the band. Fish would state the decision was made because his timing was awful, and he failed to develop at the same pace as the remaining members of the band.
Apparently, nobody was good enough for them because over the next six months, three drummers would come and go. These included original Camel drummer Andy Ward, followed by John 'Martyr' Marter, and Jonathan Mover. It wouldn't be until Ian Mosley arrived that they'd bring him into the fold long term, putting in place the classic lineup of Fish on vocals, Steve Rothery on guitars, Mark Kelly on keyboards, Pete Trewavas on bass, and Mosley on drums.
That's a pretty good stopping point for today. I'll pick up tomorrow with more Marillion, as I jump into 1984's Fugazi.
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