The heartfelt "Easter," with its imaginative electric-acoustic arrangement, is another showcase for Hogarth 's talents. Marillion 's ability to write music whose ideals live and breathe in the listener continues on Seasons End , particularly on the inspiring "Holloway Girl," which dissects the injustice of incarcerating mentally ill female inmates at England's Holloway Prison instead of placing them in appropriate psychiatric facilities.
The beautiful "Easter" is the band's plea for peace in Ireland, while "The King of Sunset Town" has its lyrical roots in the massacre at Tiananmen Square.
Hogarth 's flexible range and beautiful phrasing shine on the entire album. In Marillion released a remastered version of Seasons End , including a bonus disc of outtakes and alternate versions as well as the previously unreleased "The Bell in the Sea" and "The Release. While 's Afraid of Sunlight is the peak of Marillion 's growing, impressive body of work, Season's End shouldn't be missed either.
Listen album. One of the things that Marillion hit the target on continuously throughout the album is the emotion and atmosphere displayed by plenty of the songs. Marillion - Seasons End track n. Songs in album Marillion - Seasons End Both are strong tracks and are welcome additions to the Marillion catalog. And in the albums highlights, Easter and Berlin this is one of the ways in which the song succeeds so brilliantly.
Seasons End Tracklist. Marillion - The Uninvited Guest. This album was remastered in The album was the first to feature current lead singer Steve Hogarth, following the departure of former vocalist Fish in late A number of the lyrics were written by John Helmer, who the band had commissioned before Hogarth joining.
A number of the lyrics were written by John Helmer , who the band had commissioned before Hogarth joined. He would continue to contribute lyrics throughout the s. The bonus disc of the re-issue of Clutching at Straws contains a number of nascent versions of songs that would end up on Seasons End with vocals and lyrics by Fish, these demos having been produced during the writing sessions for the ill-fated fifth studio album with Fish.
A number of the lyrical concepts from these demos, such as The Voice in the Crowd , would later resurface on Fish's debut studio album, Vigil in a Wilderness of Mirrors.
The album was produced jointly by Marillion and Nick Davis who would go on to work with Genesis and associated acts. As with Marillion's previous two studio albums, three singles were released from Seasons End.
As Mark Wilkinson , who had designed all previous Marillion covers, had left together with Fish, the album also marked a turning point in the band's visual style, towards a more "modern", photographic look created by Bill Smith Studio. The four square fields dominating the cover symbolise the four classical elements , earth, air, water and fire clockwise from top left.
At the same time, the cover contained some references to the past: It used the band's original logo, which had been replaced with a "modernised" version on the previous album Clutching at Straws and related releases as well as on B'Sides Themselves although the live retrospective The Thieving Magpie also used it. The feather in the "desert" square is a reference to the image of the "magpie" found on Misplaced Childhood and Fugazi , the "sky" square contains a fragment of the "Jester's" dress introduced on Script for a Jester's Tear , the chameleon in the "fire" square appears on Script for a Jester's Tear , Fugazi and Misplaced Childhood ; the painting with the clown's face falling into the water upside-down is taken from the Fugazi cover.
Also, the vinyl version returned to the gatefold format that had been abandoned on the previous studio album. The lyrics on Seasons End , unlike on the two previous albums, are not tied together by a common storyline.
When I was quite young I saw a tram come down the road and someone had parked a car too close to the tram line. It came down the road and it just tore the side of this car because it couldn't do anything else. It made the most fantastic noise as it did so. Fortunately there was nobody in the car and fortunately the trams in Amsterdam are very thick so I'm not sure the driver even noticed it happen.
Years later when I was feeling a bit more like a rock star than I did when I saw it happen, I was thinking about my life. It occurred to me that I was a bit like that tram when I probably ripped the side of a few things I hadn't even felt and I hadn't slowed down either and I probably hadn't noticed. So the words to this song came from that realization. It was one of the first songs we put together when we met in January of
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