Marillion/NY,USA 1983

Early MARILLION, in which former CAMEL Andy Ward also participated. The intense soundboard album is now available. What is engraved on this work is “July 26, 1983 New York performance”. This is a live album containing the first American tour that was realized after the release of the debut album “SCRIPT FOR A JESTER’S TEAR”. In “SCRIPT FOR A JESTER’S TEAR”, original member Mick Pointer served as the drum, but during the subsequent tour there were many member changes with Andy, Jonathan Mover, and Ian Mosley. This week, the super rare album “BAUNATAL 1983 (Amity 508)” with Jonathan’s participation will be released at the same time, so let’s first organize the turbulent flow by schedule. ・February 19th – March 9th: UK #1 (4 performances) [“SCRIPT FOR A JESTER’S TEAR” released on March 13th] ・March 15th – April 18th: UK #2 (29 performances) [Mick Pointer leaves → Andy Ward joins] ・May 12th – July 3rd: Europe #1 (7 performances) ・July 14th – August 8th: North America #1 (19 performances) ←★Book Made★ ・August 25th + 27th: UK #3 (2 performances) ・September 18th-23rd: North America #2 (5 performances) [Andy leaves → Jonathan Mover joins] ・October 1st: West Germany performance [Jonathan leaves → Ian Mosley joins] October 27th-30th: UK #4 (4 performances) [Recording of “FUGAZI” begins in November] December 27th-31st: UK #5 (5 performances) This is an overview of our activities in 1983. Mick was Mick until his home country tour immediately after the release of “SCRIPT FOR A JESTER’S TEAR”, but Fish was dissatisfied with his performance and fired. Andy participated in my place. Since he already had a track record with CAMEL, it was decided that he would join without an audition. MARILLION, who had previously only been active in their home country, set out to the European continent and then to North America. The New York performance of this work was the 9th concert of the first North American tour. This work recorded at such a show is an intense soundboard that awakens your eyes with a vivid sense of direct connection. Although it can be said to be a sound board in one word, it has various individualities, but this work is a type that can never be said to be “like an official”. Since the core is exposed, there is very little ringing, and there are no decorations like FM broadcasts or official live records, and the notes being played right now jump into your brain exactly as they are. This is a sound that can only be achieved by connecting directly to a desk. Of course, that’s not a bad thing. It’s not polished like the official version, and the concert experience is almost zero. However, the transcendent rawness that is born from this is overwhelming, and the band itself goes beyond zero distance and invades your brain. The feeling of synchronicity that hits your brain with bare feet is intense and unparalleled. At the beginning, “He Knows You Know,” the balance goes out of whack due to PA trouble, but even that feels like a tremendous document. This is also a different-dimensional musical experience that can only be experienced with bootlegs. And it’s irresistible because the main character of that sound is early MARILLION. In recent years, the official archive has progressed, and even during Andy’s era, the 1983 Reading Festival was included in the box “EARLY STAGES”. However, this work also includes “Chelsea Monday” and single B-sides “Three Boats Down from The Candy” and “Margaret” which cannot be heard on the official version. Of course, the other songs are also full of rich early colors, including all the songs on “SCRIPT FOR A JESTER’S TEAR” except “The Web”, the debut single “Market Square Heroes”, and the early versions of “Assassing” (though they are not yet in production). , has already introduced the title of his next work as “FUGAZI”). Even more than the set is the performance itself. Phish’s theatrical vocals are vivid, not only his voice but even his breath, Steve Rothery and Mark Kelly’s phrases that give off a dazzling feeling inherited from GENESIS, and Andy and Pete Trewavas’ rhythm section that gives off a sense of exploding even though it is a complex song… In particular, Andy is a former CAMEL veteran. It is more vivid than Mick, who was considered to be lacking in ability, and he is more firmly embedded in the ensemble than Jonathan Mover, who only had one performance. What’s more, this is the foreign country they are experiencing for the first time, America. I was truly shocked by the different culture that I had heard about, and my excitement exploded in a way that I couldn’t control. All of this can be experienced on a different level of direct connection sound board. MARILLION performed with Andy on major stages such as the North American tour and the Reading Festival. However, during the tour, Andy’s alcohol problems erupted and he was fired. After Jonathan Mover, who only performed for one performance, permanent member Ian Mosley will be joining. Although Andy’s era was a bubble, the truth was that it was a terribly harsh progressive rock. This is a shocking piece that hits you head-on with an overwhelmingly different-dimensional soundboard, including the excitement of experiencing America for the first time. Live at Skytops, Buffalo, New York, NY, USA 26th July 1983 SBD(78:16) 1. Intro 2. He Knows You Know 3. Garden Party 4. Script For A Jester’s Tear 5. Assassing 6. Chelsea Monday 7. Three Boats Down from The Candy 8. Forgotten Sons 9. Introduction of Market Square Heroes 10. Market Square Heroes 11. Margaret Fish – Vocal Steve Rothery – Guitars Mark Kelly – Keyboards Pete Trewaves – Bass Andy Ward – Drums, Percussion ★Andy the Camel is hitting SOUNDBOARD RECORDING