Marillion/UK 1982 & SC

The very early MARILLION’s super best live album has been newly discovered. We have delivered masterpieces of early MARILLION so far, but this work is by far the early days. Surprisingly, they haven’t even produced their debut work “SCRIPT FOR A JESTER’S TEAR” yet…or should I say, this is a record from their semi-professional days when they had not yet signed a contract with EMI. This is a good opportunity, so let’s take a look at the current situation based on our activities at the time. ・January 3rd – March 9th: UK #1 (23 performances) ・March 25th – May 29th: UK #2 (37 performances) ・June 19th – July 29th: UK #3 (12 performances) August 12th – September 25th: UK #4 (17 performances) ←★Coco★《October 25th: Single “Market Square Heroes” released》・October 26th – November 26th: UK #5 (28 performances) 《Production of “SCRIPT FOR A JESTER’S TEAR” begins in December》・December 28th – 30th: UK #6 (3 performances) ) This is MARILLION in 1982. This work is a superb audience recording of the 6th performance of “UK #4” “Sheffield performance on August 19, 1982”. Their first record was the single “Market Square Heroes,” but the production of this work has not even begun. The oldest record of the official “EARLY STAGES” was the Glasgow performance in September, so it is an extremely early live album that is even older than that. [Although it has a handmade feel, it has a super high quality that is better than a sound board] This semi-professional recording does not mean that the quality is just as good as it is! Although I had no choice but to write the word “audience” earlier for categorization purposes, the sound of this work is completely different from what you imagine when you use the word “audience.” Although it is a microphone recording, the performance and singing voice are extremely direct. Far from having zero sense of distance, it feels like you’re standing between the members, and every note of every instrument is transcendent. The intense stereo sound was also strange, and the sound of the venue was unbelievable. Without the cheers that fly between songs, it can only be thought of as a soundboard. Also, it is not a typical line recording, but the level of a super-excellent sound board connected directly to the desk. On the contrary, it is more amazing than the genuine official sound board “EARLY STAGES”. There’s a reason why it ended up sounding like that. In fact, before signing to EMI, they were recording their stage performances with the band’s permission. This work is one that came out of that treasured collection, and is the ultimate product that was digitized directly from the original master. The sound is exactly like the person involved. There’s no hiding the microphone, it’s as if it was placed in front of each instrument and mixed, it’s super and super beautiful. This is completely speculation, but it may have been recorded to sell to record companies. Rather than simply recording with the band’s official approval, it seems like they are going out of their way to bring out the band’s charm. The sound is that good, and it was recorded from a sound check without an audience. The loud cheers that erupt between songs sound like their friends are saying, “This is such a popular band!” [A show at the dawn of an explosion of extremely rare sets] Although the sound is full of handmade feel, the show drawn has no handmade feel. Of course, the mood of the show is full of the semi-professional feel of being surrounded by friends, but the progressive rock that comes out of it is intense and special. “She Chameleon” by “FUGAZI” will be played early, but the rest are delicious songs from their debut work “SCRIPT FOR A JESTER’S TEAR” and early singles. It all unfolds in the initial arrangement. As a matter of fact, this work is about one month before the Glasgow performance of the official work “EARLY STAGES”, but the set is quite different. “Grendel”, “Institution Waltz”, “Margaret”, and “Charting The Single”, which could not be heard on that official version, will also be fully shown. Among them, the most valuable one is “Institution Waltz”. It is an unreleased song that saw the light of day on the re-recorded version of Phish’s “YIN AND YANG”, but you can listen to it performed live by MARILLION at the time. You can also enjoy it with the transcendental quality that kicks the sound board. The biggest point of this work is above all the passionate performance of MARILLION in the semi-professional era. However, the impact of the sound obscures even the preciousness of the transcendent show. The fact is that it is a microphone recording, so I have no choice but to write “audience”, but I really don’t want to write it. It only sounds like a direct-to-table soundboard, and it easily surpasses the official excavation soundboard. This is a live album with such transcendent sound quality that the live performances of the early days will be poured into your brain. A super masterpiece that will shock you on a level that goes beyond whether you are a fan of MARILLION or not. Live at Limit Club, Sheffield, UK 19th August 1982 ULTIMATE SOUND Saliva Tears Tour Disc 1(55:07) Soundcheck 1. He Knows You Know Live 2. He Knows You Know 3. She Chameleon 4. The Web 5. Garden Party 6 . Grendel Disc 2(40:52) 1. MC 2. Institution Waltz 3. Margaret 4. 3 Boats Down From The Candy 5. Charting The Single 6. Forgotten Sons 7. Market Square Heroes Fish – Vocal Steve Rothery – Guitars Mark Kelly – Keyboards Pete Trewaves – Bass Mick Pointer – Drums