MARILLION Script For A Jester's Tear (Neo-Prog, 1983)

Review by VianaProghead — Review Nº 128

"Script For A Jester's Tear" is the debut studio album of Marillion and was released in 1983. The album was released
after their fantastic EP "Market Square Heroes" with also "Three Boats From The Candy" and on the B side with their
great epic "Grendel". The line up on the album is Derek Dick "Fish" (vocals), Steve Rothery (guitars), Mark Kelly
(keyboards), Pete Trewavas (bass) and Mick Pointer (drums). Beyond "Market Square Heroes", this is the only album
to feature Pointer in the group. He left Marillion to found Arena where he is still their current drummer.

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The Prog Report announces new book ‘Essential Modern Progressive Rock Albums'

The Prog Report is pleased to announce the first book dedicated to the resurgence of one of music’s most enduring and underrated genres. Essential Modern Progressive Rock Albums: Images and Words Behind Prog’s Most Celebrated Albums 1990-2016, authored by Prog Report editor Roie Avin, shines a light on the important albums of the modern progressive rock era. The book features more than 50 albums from the last quarter century of Prog, with each chapter dedicated to one album.

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HEADS IN THE SKY Heads In The SKy (Crossover Prog, 1981)

Review by Progfan97402 — Heads in the Sky was a little known Canadian prog band from the 1980s. This is their debut album from 1981, they only had one
other release, Poetry & Science, from 1983 (some claim 1979, but the Illuminated Records catalog number clearly shows it was
released after the Heads in the Sky LP, after Martin Sprigett released The Garden Club on the same label, in '83). I am willing to
believe Illuminated Records belonged either to the band or Martin Sprigett, as Sprigett, a British-born Canadian who's an artist,
who was responsible for the sci-fi artwork for this cover and he did later record for the label (which only had both Heads in the
Sky releases and Sprigett's Garden Club). Surprisingly it received an international release in the Netherlands, Germany, and I
believe France, and in 1983, received a Japanese release. Heads in the Sky really sounds like it came in that awkward period
after the classic prog-era was pretty much over (the classic prog bands that survived 1981, like Genesis, turned towards pop-
oriented material) and the neo-prog rock scene had yet to make its presence known (Marillion had yet to release the Market Square Heroes EP and The Script of a Jester's Tear in '82/'83). The good news is the music sounds like the '70s wasn't completely over. For
one thing, Russ Walker had the decency to use a Hammond organ and Mellotron to good use here, but he also used a more
contemporary polyphonic synth, likely an Oberheim OBx (sounds like the same one used on Tom Petty's "You Got Lucky" and
Van Halen's "Jump"). Most notably heard on "Heads in the Sky" and part of "Nuclear Energy Sweet", those synth parts are very
much early '80s sounding. On "Survive" and "Three Isle My Land", the band goes into Pink Floyd territory, with nice use of
Mellotron, Hammond organ, and what sounds like a Davoli synth. "Three Isle My Land" was an obvious reference to Three Mile
Island, and the disaster that (then) recently happened (in 1979). The music also has a bit of Anthony Phillips thing going on,
reminding me a bit of Wise After the Event. "Nuclear Energy Sweet" is a three part movement. Starts off with eerie guitar synths,
then it goes rocking, with a synth break, then the final part is more calm with flute and piano, with a bit of a Camel feel. Side two
(actually "Side 1" as the original LP labels side one and two as "Side 0" and "Side 1") isn't quite as good, in fact the more calm
parts of "Atlantis Lies" is a bit on the insipid side, showing what went wrong with prog at the end of the '70s/beginning of
the '80s. It's not all bad. I've grown to enjoy "Golden Morning", and I do like the closing piece "Morning in Rio", which uses that
same drum machine heard on the opening "Heads in the Sky", which sounds more like one of those early drum
machine/rhythm boxes common to 1971, rather than 1981. Compared to a lot of what came out in 1981, this is definitely better
than a good deal of music, prog included, that I've heard from that time period, but compared to the standards pre-1978, it's no
match. It's nice to hear a Mellotron from a 1981 recording, it's obvious that while you do hear the '80s creeping in, Heads in the
Sky didn't want to totally let go of the 1970s. I can recommend this to those who enjoy Pink Floyd, Anthony Phillips and Camel
(circa Nude, which came out the same time), but it's not something that just totally blow your mind, but worth getting for those
looking for more off-the-beaten track prog.

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Sounds That Can Be Made #100

Edition 100 of Sounds That Can Be Made is now available as a podcast!


Uriah Heep – I’m Alive (from Fallen Angel)
Pink Floyd – Comfortably Numb (from The Wall)
Jethro Tull – Elegy (from Stormwatch)
Genesis – Cul-De-Sac (from Duke)
Barclay James Harvest – Just a Day Away (Forever Tomorrow) (from Ring of Changes)
Electric Light Orchestra – Bluebird (from Secret Messages)
Black Sabbath – Angry Heart (from Seventh Star)
AC/DC – Meanstreak (from Blow Up Your Video)
Blue Öyster Cult – Imaginos (from Imaginos)
Deep Purple – Love Conquers All (from Slaves and Masters)
Rush – Heresy (from Roll the Bones)
Yes – Children of Light (from Keys to Ascension II)
Iron Maiden – The Wicker Man (from Brave New World)
Marillion – When I Meet God (from Anoraknophobia)
Magnum – Everyday (from Breath of Life)
Radiohead – Go To Sleep (Little Man Being Erased) (from Hail to the Thief)
Asia – I Will Remember You (from Phoenix)
Mostly Autumn – Glass Shadows (from Glass Shadows)
Porcupine Tree – Remember Me Lover (from The Incident)
Dream Theater – Lost Not Forgotten (from A Dramatic Turn of Events)
Nektar – Talk To Me (from Time Machine)
Devin Townsend – Z² (from Z² Dark Matters)
Archive – Axiom – Reprise (from Axiom)
Muse – The Handler (from Drones)
Foo Fighters – The Neverending Sigh (from Saint Cecilia EP)
Big Big Train – Mudlarks (from Wassail EP)
The Pineapple Thief – No Man’s Land (from Your Wilderness)

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The Samurai Of Prog | On We Sail Album Review June 2017

The Samurai Of Prog | On We Sail

Label: Seacrest Oy Records
Release Year: 2017
Country: Multinational
Genre: Traditional Progressive Rock


Band Members

Marco Bernard – Rickenbacker Bass
Kimmo Porsti – Drums & Percussion
Steve Unruh – Vocals/Violin/Flute/Guitar


Guest Musicians

Octavio Stampalia – Keyboards
Ruben Alvarez – Electric & Acoustic Guitars
Kenny Shacklett – Keyboards/Vocals/Acoustic Guitar
Srdjan Brankovic – Electric Guitars
David Myers – Keyboards/Grand Piano
Jacques Friedmann – Electric Guitars
Luca Scherani – Keyboards
Michelle Young – Vocals
Sean Timms – Keyboards
Mark Trueack – Vocals
Jacob Holm Lupo – Electric Guitars
Oliverio Lacagnina – Keyboards
Flavio Cucchi – Classical Guitar
Brett Kull – Electric Guitar
Daniel Faltt – Vocals
Roberto Vitalli – Moog Taurus Pedals
Stefan Renstrom – Keyboards/Vocoder

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Sounds That Can Be Made #99

Edition 099 of Sounds That Can Be Made is now available as a podcast!



Marillion – Freaks (from Lavender)
The Rolling Stones – Gimme Shelter (from Let It Bleed)
Mostly Autumn – Another Life (from Passengers)
Twelfth Night – Art & Illusion (from Art & Illusion)
All About Eve – Strange Way (from Touched By Jesus)
Also Eden – The Test (from [REDACTED])
Crimson Sky – The Space Between Us (from Misunderstood)

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