Marillion 'Lavender'

Chart Peak: 5

YouTube

The follow up to 'Kayleigh' made swift progress to reach Number 5 in September.

It also produced one of the more memorable Top Of The Pops performances of the era, although nostalgists should note that the presenters manage to get the title wrong both before and after the song. Admittedly, 'Lavender Blue' is the folk song on which this is based (it also seems to be the title of the 12" version, which might be what confused Mike Read) and that's apparently a deliberate ploy to reflect the childlike idealised vision of love that this song's about; that in turn is supposed to contrast with the more jaundiced view in 'Kayleigh'. It's the sort of high-concept idea that often puts me off prog rock (yes, I went there) particularly when it's parcelled out and sold out of context. And dropping in a reference to the not obviously child-oriented Joni Mitchell seems odd too.

It's actually not an unpleasant record to hear, and has the advantage of not having been as overplayed in the long run as their other Top 5 single (though it was apparently a big radio hit at the time). The biggest problem, apart from the secondhand nature of the best parts of the song, is the air of seriousness imparted by the production and Fish's vocal, which is hard to reconcile with the words "dilly dilly" in the chorus (I don't think calling somebody a dilly is an insult in Glasgow, which would have made an odd sort of sense).

Also appearing on: Now 5, 10
Available on: The Best Of Both Worlds

Marillion 'Kayleigh'

Chart Peak: 2

YouTube

I've long had the impression that Marillion fans have some resentment of them being identified with this song, although I'm not sure how much of that is to do with the song itself and how much with the extent to which it overshadows the rest of their career. As an outsider I can call it as I see it (well, as I hear it, although the video does seem to prove my point somewhat about fake recording studio scenes).

Actually, this isn't quite as bad as I thought I remembered it being, although I haven't radically changed my opinion. It is notable for its slightly unconventional structure, but even though they are apparently autobiographical Fish's lyrical snapshots don't entirely seem convincing. Maybe his voice just isn't right for the mood, or I was distracted by the thought of him dancing in stilettos. Any other emotion is pretty much beaten out of it by the heavy-handed rock anthem production, complete with screechy guitars, massed keyboards and that big drumbeat to tell us where the chorus is. And the dramatic ending is always spoilt for me by the fact that he has to change the stress on the titular name the very last time he sings it for the sake of scansion. Still, it got enough attention that women of that age are apparently disproportionately under 25...

Also appearing on: Now 6, 10
Available on: The Singles: 1982-1988

Marillion 'Sugar Mice'

Chart Peak: 22

YouTube

This is a review I approached with some trepidation, knowing that Marillion are a group with a loyal and vocal online fanbase. So here's the deal: I promise not to mention 'Kayliegh' and you promise not to leave comments telling me I'd like it more if it was by Radiohead, OK?

'Sugar Mice' was, by all accounts, the climax of Clutching At Straws, the band's last album with Fish. Apparently, it's a concept album about a failed rock star with a drink problem, and naturally you can draw your own conclusions about where Fish got the idea from. Listened to outwith that context - but in the knowledge that the singer was about to quit - it's tempting to hear it as the lament of a still-in-the-business rock star, regretting the way his work takes him away from home, etc. That would also explain why a man with a pronounced Scottish accent was watching the telly in Milwaukee; I presume this is accounted for elsewhere in the original album, but of course a Now album buyer wouldn't have that to go on either.

'Sugar Mice' is another song on this album that I hadn't heard - or really heard of - until I got here, and whilst I'm not going so far as to agree with the reviewer who called it the best song ever, it's probably the first track on Now 10 that I've liked more than I expected to. That said, I don't particularly like Fish's vocals. Sorry fans.

Also appearing on: Now 5, 6
Available on: Clutching at Straws