Marillion Songs Ranked
Marillion/məˈrɪliən/ are a British rock band, formed in Aylesbury, Buckinghamshire, in 1979. They emerged from the post-punk music scene in Britain and existed as a bridge between the styles of punk rock and classic progressive rock, becoming the premier neo-progressive rock band of the 1980s. Despite unpopularity in the mainstream media and a consistently unfashionable status within the British music industry, Marillion has maintained a very loyal international fanbase, becoming widely acknowledged as playing a pioneering role in the development of crowdfunding and fan-funded music. They have sold over 15 million albums worldwide. Here are all of Marillion songs ranked.
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20. Lavender Blue (Misplaced Childhood, 1985)
“Fish came up with the concept for the album in the midst of a bad acid trip. The child on the front had visited him during this trip, and he was inspired and rattled off a long script of prose based on finding his childhood. During the writing sessions at Barwell Court, the band rehearsed in a room that used to be a nursery. Fish wanted to use the song Lavender as a segue between the other parts of the album. It became the second hit single off this album. In an extremely rare moment for Marillion, they actually had to add music to this song to make it a single..”
19. Assassing (Fugazi, 1984)
“‘Assassing’ is the impressive opener on ‘Fugazi’ and remains a superb track, assuming of course that you appreciate extremely verbose melodic rock. Sample lyric; ‘venomous verbs with ruthless candour, plagiarism assassin’s fervour.’ Yes indeed Fish was a walking dictionary.”
18. Beautiful (Afraid of Sunlight, 1983)
“I think Beautiful (Part One) is one of the most humdrum EPs in my prog collection. “Beautiful” is a great song, but nothing happens on the rest of the songs.”
17. Blind Curve (Misplaced Childhood, 1985)
“Steve Rothery turns in a great guitar solo on the Passing Strangers section, really echoing the sentiment of Fish’s lyric quite well. The transition into the twin lead with Mark Kelly is quite nice. Mylo reminds me a little bit of Jigsaw, but what I really like is how they bring it way down for the haunting Perimeter Walk section. The transition features some more great Steve Rothery playing. And I love how he haunts Perimeter Walk with the volume swells. I really like how they build this section up, because it goes perfectly into Threshold, which is where I think the album should end. It’s the emotional high point of the album, and features the band firing on all cylinders. Fish’s lyrics and vocal performance are top notch here. This is my favorite part of the album, and I love Steve Rothery’s quick reprise of the Heart of Lothian melody at the end of the song.”
See more: Marillion Albums Ranked
16. Easter (Seasons End, 1989)
“It’s a beautiful song. Great instrumentation, chorus, simply pretty This solo is so amazingly crafted it stands as one of the best ones I have ever heard.”
15. Chelsea Monday (Script for a Jester’s Tear, 1983)
“‘Chelsea Monday’ is another track that feels too long. I know it was the effect that the band was going for, but the track is a real downer and is drawn out with a heap of emotional solos. By this stage of the album, I’ve heard enough of these David Gilmour-style solos to last a lifetime… The track would have worked better if it was cut down to about 6 minutes I think with a shorter coda.”
14. Neverland (Marbles. 2014)
“This is a great album closer and another one of those classic Marillion moments. Steve Rothery guitar work is an obvious highlight, soaring over the top of the bombast that Marillion does to perfection here. The lyrics to the second part of the song (the whole Wendy in the kitchen section) date back to Afraid of Sunlight, and were originally part of an idea called Wear Your Gun to Neverland.”
13. Sugar Mice (Clutching at Straws, 1987)
“Sugar Mice is a nice rock ballad-ish track. It’s a bit weird out of the album context, but the solo always makes up for it. Cool song.”
12. Fugazi (Fugazi, 1984)
“The finale, my god. Everyone shines on this song. I take back what I said earlier. THIS is the best song on Fugazi – the title track. A fantastic closer miles better than Forgotten Sons.”
11. Forgotten Sons (Script for a Jester’s Tear, 1983)
“As good as it is, I feel it would work even better if such a solo was a “surprise” rather than the 100th or so heard by this stage of the album. Apart from the solo, the track is a bit of a mixed bag of fast poppy sections, slower atmospheric sections, and a theatrical midsection, and I can’t say I’m a big fan of it. Still there’s something about that solo and Fish’s vocals that finishes the album, so almost all is forgiven.”
10 Three Boats Down from the Candy (Script for a Jester’s Tear, 1983)
“I vividly recall the first time I heard this EP, of having chills of excitement race along my spine, and of battling the urge to leap for joy because a new group had actually adopted a style so eerily reminiscent of Gabriel-era Genesis.”
9. Torch Song (Clutching at Straws, 1987)
“Torch Song” is a little overwrought and over dramatic, but it gets its point across well enough. Actually that goes for most of the album, while it’s never going to be hailed as one of the all time classics, it’s good enough to put the band’s previous work in the shade.”
8. Punch & Judy (Fugazi, 1984)
“Some of the most simple lyrics on the album are featured on “Punch & Judy”, but anyone who has ever been in a longer relationship (a relationship which extends beyond the magic of the first months/years of falling in the love), will recognise how well Fish are able to describe that scenario.”
7. Jigsaw (Fugazi, 1984)
“The dramatic ‘Jigsaw’ is just classic Marillion with an unbelievable vocal performance effortlessly shifting the track from the soft atmospheric verses to a spectacular climax in the refrain.”
See more: Camel Albums Ranked
6. Pseudo Silk Kimono (Misplaced Childhood, 1985)
“One of my main beefs with this album is Mark Kelly’s patch selection. I know the new digital keyboards were all the rage by 1985, and here they are in all their thin, muffled glory. Hey, it was a new technology back then. The patch choice on this song makes me cringe. Thank God for Pete’s bass pedals to add some thickness here. With that said, I love Steve Rothery’s guitar work on this song. He really adds some nice texture.”
5. Script For a Jester’s Tear (Script For a Jester’s Tear, 1983)
“Script for a Jester’s Tear is the album we’re concerned with now. As I’ve said I’ve always been a bit disappointed with the album, mostly unfairly. Objectively each of the tracks is very good with very little to fault. The opening title track is suitably dramatic, bombastic, and introspective to set the band’s manifesto. The best part of the track is definitely the emotional second half with Fish’s vocals expertly weaving through and above the atmospheric keyboards and the emotional guitar solo.”
4. He Knows You Know (Script for a Jester’s Tear, 1983)
“The overdramatic vocals in the refrain and cheesy harmonies have always grated although I’ve learned to appreciate the track a bit more in time. The rest of the track is actually quite good with some really nice chiming guitars. Interestingly the guitar solo from this track, played alongside the aforementioned Tony Bank-like solo sounds more like David Gilmour giving this otherwise pop sounding track a slight prog edge.”
3. White Russian (Clutching at Straws, 1987)
“Great lyrics, great story, great song, it all brings a chill to your spine for sure and doesn’t let go until its put to bed.”
2. Grendel (Script for a Jester’s Tear, 1983)
“This is the best song ever. As long as I’ve heard Marillion, this one has always been my favorite. It’s not just my favorite underrated song, it’s my favorite song of all time. The vocals go great with the music, and its lyrics are tremendous! Please vote or listen to this song, it is amazing.”
1. Kayleigh (Misplaced Childhood, 1985)
“I’m sure there are a lot of 20 year old girls in merry ole’ England with this name. Fish has said that he’s gotten used to signing autographs for said girls over the years. This song is about Fish’s on again/off again relationship with a girl named Kay. He used her Father’s pet name for her, changed the spelling of the middle name, and got a new name that is now registered in the baby name books. Bravo, Fish! Seriously though, the final lyric arrived during the recording of the vocals, in which the band went out to dinner while giving Fish strict instructions to have it done by the time they got back. Needless to say, pressure is a great motivator sometimes and poof! One smug lyricist. The band wanted Fish to change the name, but he was adamant it stay Kayleigh. Good move, because it fits the melody much better than Patricia or Jennifer.”
