8 Powerful Deep Cuts from Fish-Era Marillion

British band Marillion began life as a quintet inspired by the epic sounds of Peter Gabriel-era Genesis, and they soon developed their own voice thanks to their own special chemistry and the poetic wordplay of towering Scottish singer and lyricist Fish. The group deserves major props not only for their great music but helping keep the spirit of the progressive movement alive during the 1980s when a lot of rock music was simplified to be sold to the MTV masses.

Fish, guitarist Steve Rothery, keyboardist Mark Kelly, bassist Pete Trewavas, and drummer Ian Mosley evolved a lot over the span of four full-length albums and another LP’s worth of B-sides. They would part ways after their fourth album Clutching at Straws, with Fish going solo and the band acquiring frontman Steve Hogarth, who has been with them ever since. Both parties remain beloved today.

Here are eight deep cuts from that first Marillion era that deserve more attention.

“Grendel” from B’Sides Themselves (1988)

A 17-minute B-side (!) to the 12” single Market Square Heroes in 1982, this was an ambitious song for a young band who had yet to release a full-length album. Shirking a conventional verse-chorus structure, the song moves along through different passages—from ethereal serenity to aggrieved stomping—as it tells the story of the monster in the Beowulf myth from his own perspective. (It’s inspired by the John Gardner novel Grendel from 1971.) At many Fish or Marillion shows some fan will still scream out for it—it’s the “Freebird” request of their world.

“Forgotten Sons” from Script for a Jester’s Tear (1983)

The angry closing track to Marillion’s debut album was inspired by the strife in Northern Ireland. Fish has said it was told from the perspective of someone in England aware that countrymen were going to fight in security forces during the Troubles. It rues the whole situation. Opening with the upbeat, bouncing feel of “Market Square Heroes,” it also includes an aggressively funky mid-section as well as an intense, militaristic-sounding condemnation of British governmental politics of the time that will give you goosebumps.

“Fugazi” from Fugazi (1984)

The closing title track to their second album is an emotionally charged examination of how an increasingly insular and overstimulated world divides and conquers us through collective ignorance and acquiescence. The song cycles through five very distinct sections, and the malevolent-sounding mid-section leading into the majestic-sounding yet still forlorn coda is one of the most dramatic and emotive transitions they’ve ever created. The band members were reportedly not happy with the fade-out of the original mix, and the 2021 “stereo mix” changed that. The fade-out worked better.

“Cinderella Search” (B-Side, 1984)

This melancholy track was the B-side of the “Assassing” single from the Fugazi period. The version on the B’Sides Themselves compilation is the 7” edit that is a minute shorter and cuts out some verses found on the full 12” single version. The shorter version is very effective, but the longer one is fun to uncover as well. It’s certainly a tune for those sad souls who have spent countless evenings in pubs and bars vainly looking for the love of their life.

Maybe you were always beyond my reach and my heart was playing safe
But was that love in your eye I saw or the reflection of mine?
I’ll never really know for sure, you never really gave me time
Give me time, won’t you give me that time!

“Childhood’s End?” from Misplaced Childhood (1985)

The album that broke Marillion through to the masses, Misplaced Childhood dealt with the death of a relationship, the mourning period that followed, and the revelations that led to a personal resurrection. While “Kayleigh” is the mournful ballad that captured everyone’s attention, the penultimate track “Childhood’s End?” is the bright counterpoint and one of the most stirring rock songs ever written. It’s an anthem for those who have, or seek to, overcome insecurity, heartache, and loneliness; to learn to love themselves; and to embrace change.

“Lady Nina” from Brief Encounter (1985)

The only overt dance track from this time has that punchy mid’-80s drum machine sound. With lyrics inspired by and written in a German brothel, “Lady Nina” profiles a wealthy, beautiful woman who seemingly lives a double life as a role-playing prostitute to try and find passion again in her life. It was a cast-off from the Misplaced Childhood album sessions (as was “Freaks”). It’s an unusual track from this era by Marillion and certainly one of their catchiest too. The single version and official video, released only in the U.S., is shorter than the EP release.

“Going Under” from Clutching at Straws (1987)

Not included on the vinyl release of Clutching at Straws, this haunting ambient soundscape features forlorn lyrics about being consumed by the haze of alcoholism. Clutching at Straws was a darker album than Misplaced Childhood, but it was just as powerful in exploring a world of unemployment, addiction, divorce, and failed musical dreams. Like this track, it’s best listened to submerged beneath headphones.

Is it wrong to talk to myself even when there’s nobody else?
I’m just checking out that I’m not gone under the water
Thrown on the beach like a seal ready for slaughter

Can’t you understand that the way things were planned
It never worked out so I just went crazy?
I took to the drink, like something says it’s “maybe”

“Tux On” from B’Sides Themselves (1988)

The B-side to the 1987 single “Sugar Mice” tells a familiar story—the desire for fame, achieving it, then becoming disillusioned with it—with the band’s signature style. Sometimes it’s not just the tale, it’s the telling; in this case, “Tux On” is told from a working-class perspective as a local hero gets way more than he bargained for when he becomes a musical celebrity. The song’s moody, subdued prelude builds up to Steve Rothery’s anguished guitar solo.

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