Marillion / Sheffield August 1982 / 2CD

Marillion / Sheffield August 1982 / 2CD / Virtuoso

Live at Limit Club, Sheffield, UK 19th August 1982 Saliva Tears Tour.

Play sample :

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The ultra-early MARILLION’s ultra-super-live album has been newly discovered. It is appearance in permanent preservation press 2CD.
In our shop, we have delivered the masterpieces of the early MARILLION until now, but this work is the beginning of an extraordinary season. You say that you haven’t made even your debut work “SCRIPT FOR A JESTER’S TEAR” ……, or it is a record of the semi-professional era that has not contracted with EMI yet. As it is a good opportunity, let’s check the situation from the activities at that time.

・ January 3-March 9: UK # 1 (23 performances)
・ March 25-May 29: UK # 2 (37 shows)
・ June 19-July 29: UK # 3 (12 performances)
・ August 12-September 25: UK # 4 (17 performances) ★ ★ Coco ★
“October 25: Single” Market Square Heroes “release”
・ October 26-November 26: UK # 5 (28 performances)
“December” SCRIPT FOR A JESTER’S TEAR “production start”
・ December 28-30: UK # 6 (3 performances)

This is the 1982 MARILLION. This work is the super-superior audience recording of the 6 performances “August 19, 1982 Sheffield performance” of “British # 4” among these. Their first record was a single “Market Square Heroes”, but this work has not even begun. The oldest record in the official “EARLY STAGES” was the Grassgow performance in September, so it’s an early-early live album even older than that.

[Super-excellent quality over sound board while feeling full of handmade] Saying such semi-professional recording is not the quality itself either ………! Although I tried to write “audience” on the category earlier, the sound of this work is completely different from what I imagine in the words of “audience”. At first it is microphone recording, but both performance and singing voice transcend direct. There is no sense of distance, it is a super tight feeling that stands among the members, and it transcends to one note of every musical instrument. The ferocious stereo feeling is also strange, and there should be no noise at the venue. If there is no encouragement to fly between songs, it can only be considered as a sound board. It’s not just that line recording, but the level of a super-super sound board directly connected to the table. On the contrary, it is better than the official soundboard “EARLY STAGES”.
There is also a reason that it became so much sound. In fact, before signing EMI, they were recording the stage with band approval. This work is one that came out of its treasured collection, and it is the ultimate product that was directly digitized from Ogen Master.
The sound is just like the person concerned. There’s no need to hide the mic, it’s as if you put it in front of each instrument and mix it. It’s a complete guess, but I might have been recording to sell to a record company. Rather than just recording by official recognition of the band, it only seems to be trying to draw out the charm of the band. That sound is too good and it has been recorded from the sound check without the audience. It seems that the cheers buzzing loudly between the songs are also appealing to the fellows, saying, “This is a band that is cool enough!”

[The show of glory that super rare set explodes] While it is such a handmade feeling of perfect score, there is no handmade feeling for the show to be drawn. Of course, the mood of the show is full of semi-professionalness surrounded by friends, but the progressive rock coming out from there is dense and rich. The “She Chameleon” of “FUGAZI” is played as early as well, but the rest is only the delicious song of the debut work “SCRIPT FOR A JESTER’S TEAR” and the initial single. It is all unfolded 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. The “Grendel”, “Institution Waltz”, “Margaret” and “Charting The Single”, which I could not even hear in that official album, will also be shown a lot. Especially valuable is the “Institution Waltz”. It is an unreleased song that saw the eyes of the sun in the re-recording version of Fish’s “YIN AND YANG”, but it can be heard by live performance of MARILLION at that time. It is also enjoyable with super quality that kicks the sound board.

The biggest point of this work is the heat performance of semi-professional period MARILLION above all. However, the impact of the sound makes even the precious show’s worthless. The fact is that it is a microphone recording, but I have to write it as an “audience,” but I really don’t want to write. It can only be heard on the direct-to-the-table sound board, and the official excavated sound board is also lightly flooded. A live album in which live music of dawn is poured into the brain with sound quality and quality of such transcendent. A super masterpiece that shocks in a dimension beyond whether it is a fan of MARILLION. It is an imminent birth with permanent preservation press 2CD.

当店ではこれまでも初期MARILLIONの傑作をお届けしてきましたが、本作は群を抜いた黎明期。何と、まだデビュー作『SCRIPT FOR A JESTER’S TEAR』さえ制作していない……と言いますか、まだEMIとも契約していないセミプロ時代の記録なのです。良い機会ですので、当時の活動から状況を確かめてみましょう。

《10月25日:シングル『Market Square Heroes』発売》

これが1982年のMARILLION。本作はこのうち「英国#4」の6公演目「1982年8月19日シェフィールド公演」の超極上オーディエンス録音なのです。彼らの初レコードはシングル『Market Square Heroes』だったわけですが、本作はその製作さえ始まっていない。オフィシャル『EARLY STAGES』でも一番古い記録は9月のグラスゴウ公演でしたから、それよりもさらに古い極初期のライヴアルバムなのです。

そんなセミプロ録音と言うことは、クオリティもそれなり………ではない! 先ほど区分上、仕方なく「オーディエンス」と書いてみたものの、本作のサウンドは「オーディエンス」の言葉でイメージするものとはまったく異なる。一応はマイク録音ではあるのですが、演奏も歌声も超絶ダイレクト。距離感ゼロどころか、メンバーの間に立っているような超密着感で、ありとあらゆる楽器の1ノートに至るまで超絶。猛烈なステレオ感も異様で、会場鳴りもへったくれもありゃしない。曲間で飛び交う声援がなければ、サウンドボードとしか思えない。それも、そんじょそこらのライン録音ではなく、卓直結の超極上サウンドボードのレベル。それどころか、正真正銘の公式サウンドボード『EARLY STAGES』より凄いのです。

そんな手作り感満点なサウンドでありつつ、描かれるショウには手作り感ゼロ。もちろん、ショウのムードはいかにも仲間に囲まれたセミプロらしさが溢れるのですが、そこから湧き出すプログレッシヴ・ロックは濃密にして特濃。早くも『FUGAZI』の「She Chameleon」も演奏されますが、残りはデビュー作『SCRIPT FOR A JESTER’S TEAR』と初期シングルの美味しい曲ばかり。それもすべて初期アレンジで繰り広げられるのです。
実のところ、本作は公式作『EARLY STAGES』のグラスゴウ公演の約1ヶ月前にあたるのですが、セットも結構違う。あの公式盤でも聴けなかった「Grendel」「Institution Waltz」「Margaret」「Charting The Single」もたっぷりと披露されるのです。中でも特に貴重なのは「Institution Waltz」。フィッシュの『YIN AND YANG』の再レコーディング版で日の目を見た未発表曲ですが、それを当時のMARILLIONの生演奏で聴ける。それも、サウンドボードを蹴散らす超絶クオリティで楽しめるのです。



Disc 1(55:07)

1. He Knows You Know

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

Virtuoso 398/399

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