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Marillion: Holidays in Eden
|Price in €:
 Splintering Heart (Marillion) - 6:54
 Cover My Eyes (Pain and Heaven) (Marillion) - 3:54
 The Party (Marillion) - 5:36
 No One Can (Marillion) - 4:41
 Holidays in Eden (Marillion) - 5:38
 Dry Land (Marillion) - 4:43
 Waiting to Happen (Marillion) - 5:01
 This Town (Marillion) - 3:18
 The Rakes Progress (Marillion) - 1:54
 100 Nights (Marillion) - 6:41
Steve Hogarth - Vocals, Arrangements, Producer
Steve Rothery - Guitars, Producer
Mark Kelly - Keyboards, Producer
Pete Trewavas - Bass, Producer
Ian Mosley - Drums, Producer
Christopher Neil - Background Vocals, Producer
Christopher Hedge - Producer
Chris Kimsey - Producer
Rob Eaton - Engineer, Mixing, Producer
Richard Sullivan - Assistant Engineer
Danton Supple - Assistant Engineer
Ted Jensen - Mastering
Peter Mew - Digital Remastering, Liner Notes
Bill Airey Smith - Artwork, Design
Paul Cox - Photography
Lucy Jordache - Project Coordinator
Nigel Reeve - Project Coordinator
Recorded at Hookend Recording Studios, Oxfordshire, between January–June 1991.
Faced with flagging sales on their first post-Fish release Season's End,
progressive rockers Marillion paired themselves with pop producer
Christopher Neil for 1991's Holidays in Eden. It wasn't exactly a move
that paid either commercial or artistic dividends, as the results are so
diluted and bland that one can only hope this was a desperate attempt
to appease their label. There were several singles that charted in the
U.K., but they could have been performed by anyone or, worse, in the
case of the ringing guitars on "Cover My Eyes," it sounds as though they
want to reinvent themselves as U2. It's a record that will surely
disappoint fans of their more progressive work and, lacking a
distinctive personality, hardly elicit excitement from newcomers.
Tom Demalon - All Music Guide
Holidays In Eden (1991) signaled a drastic change for Marillion. There
were still vestiges of their proggy past, in the opener "Splintering
Heart," in "Rakes Progress" and "100 Nights," but their new pop
direction was evident in such tracks as "Cover My Eyes," "Dry Land," and
the title track, to name three. It's an album that I had mixed feelings
about at first? it was getting further and further away from the
Marillion I'd grown accustomed to with their previous albums. But the
more I played it, the more it worked its own charms.
You must know that I cannot be objective about a Marillion album that
I've been listening to for this long? needless to say I have grown to
absolutely love Holidays In Eden -- from Steve Hogarth's emotive vocals,
Steve Rothery's often light and whispy (and somewhat uncharacteristic)
guitar phrases (but oh, those Rothery? solos can be heard here, too),
Pete Trewavas' steadily throbbing bass, Mark Kelly's feathery,
atmospheric keys to the vital pulse of Ian Mosley's drumming. I know
this is often regarded as the "unwanted stepchild" to the Marillion
legacy. And you know what, let's just stop that right now. No, it wasn't
the Marillion of "old." Yes, it was in a more pop direction. But it
wasn't and isn't a bad album, it just wasn't a very proggy album. It
wasn't even a "neo-proggy" album for that matter. But, tell you what:
Everything I loved about Marillion, and still love, is here, even if
it's given a pop accessibility. Listen to "100 Nights" and you can hear
echoes of Clutching? in Rothery's guitar solos in there; you can hear
the intensity of "The Space," "Berlin,"? and in "The Party" you'll hear?
um, pre-echoes (so to speak) of Brave? No, it isn't my favourite
Marillion album, but I do have strong and positive feelings towards it.
I should point out that the version reviewed here is the original UK
edition, with a segue at the end to the 1998 remastered version's bonus
disk; the US edition had a different track order.
"Splintering Heart" begins quietly, a percolating just under the radar,
then adds Steve Hogarth's emotive vocals (yes, that word again; memorize
it) and Ian Mosley's sparse percussion ... and like many Marillion
songs past, from subtle beginnings do large things explode and this one
is no exception, with a crying Steve Rothery solos bursting out (not
once, but twice). Bass (Pete Trewavas), drums and keys (Mark Kelly)
following along in lockstep? only to give way to whispery keyboard
effects and that chiming guitar of Rothery's? it's the calm eddy amongst
fiery storms, atmospheric and moody. We get the same effect with
"Waiting To Happen," a track that is even more expansive in sound and
musical scope. These explosions of sound hark back a bit to Season's End
and Clutching?, providing the bridge into 90's Marillion? You know this
is the case because the very pop minded "Cover My Eyes (Pain And
Heaven)" follows. A mid-tempo rocker, that isn't quite as biting as
"Hooks In You," but you can see the musical path.
The inheritor of the "Hooks In You" drive is "This Town," a?um?driving
rocker that kicks. Screaming guitar, propulsive percussion,? oh, oh, and
a Rothery? solo here. Air guitar with me right now! Yes. Oh, it's so
beautiful it brings a tear to my eye. It's a solo that gets you right
there in the gut and the heart. Oh, and then tension as we transition
from "Rakes Progress" to "100 Nights"? more classic Marillion to make a
wonderful chill run down your spine.
The title track is another mostly rocking track, Trewavas' bass quite
prominent in the opening passage, next prominent, Mosley's drums. After
the explosive intro, we get a feathery guitar phrase and whispy keyboard
passage that sets the scene, but we're back to a rocking bass, drum and
keyboard heavy passage supporting H's vocals.
When I heard "Holidays In Eden," I had been reading Mists Of Avalon (an
excellent book, by the way). In that book, the main character Morgaine
spends time in the land of faerie, miles away (mostly figuratively) from
her life before. It was an escape. It was interesting that much of the
imagery in "HIE" was the same - escape to a more "primitive" existence.
It is a time away that prompts a transformation? the view of one's world
changes, and how one thinks of themselves. And also, we think that
maybe somehow we'll reconnect with ourselves by going "back to nature."
The caveat is that you may come back a changed man or woman, but it may
not provide the results you expect ("no one wants to know you now/people
say you've changed").
If Fish led Marillion was all about the girl he couldn't get past and
felt bitter about, Holiday's In Eden was all about love. Sure,
"Splintering Heart" was about the pain of love; but the happy and
cheerful "No One Can" no doubt reflected Steve Hogarth's happier home
life. If you take some of the lyrics here on the surface, it seems to
have a creepy undertone, but perhaps that's only in light of The
Police's "Every Breath You Take," which was meant to be about a man
stalking his ex-girlfriend or wife ? and instead was taken as just a
deep expression of love by listeners. Here, it's probably a deep
expression of love that could border on obsession. Of course, it's not.
It's a declaration of love despite all obstacles. The darker topic was
really reserved for the light and airy track "A Collection," which
didn't appear on the original UK release of the album, but was on the US
version, on the CD-singles of "No One Can," and on the remastered HIE
bonus disk. The protagonist collects photos of girls he's dated (and?
killed, one can assume; though liner notes in the remaster suggest not
quite that sinister) and collected like butterflies. Creepy because it's
so sweet and pretty.
Love is also the topic of "Dry Land," a lovely balladic piece that H
brought with him from his days with The Europeans. Here the protagonist
is tentative to share his feelings, unsure how the object of his
affection would react, if at all. As H always does, he gives a very
heartfelt and emotional performance. Delicate guitar over subtle
percussion and bass characterize this song.
The track that has taken longer to work on me was "The Party." In
retrospect, it's a song that in some ways presages Brave, in that one
could see this as one chapter in that girl's life. But, it is also,
musically, one of the vestiges of "old" Marillion? Rothery's solo
abandons the lovingly played notes to create studdering eddies of tight,
tense sound, which the crash of Mosley's percussion and the throb of
Trewavas' bass underscores the tension. Also mimicking this heady and
dizzying state the central character finds herself in.
The bonus disk of the remastered version features tracks that appeared
on singles, non-UK versions of the album, live demos, or on the greatest
hits package Six Of One, Half Dozen Of The Other ? or all three.
"Sympathy" is a cover of a Rare Bird song, and it is the socio-political
song that didn't appear on the album. It's a nice, thoughtful song that
fits well with this era of Marillion. "How Can It Hurt" begins with a
bit of interesting, hollow-sounding percussion and then the scream of
Rothery's guitar. Think of "Hard As Love" from Brave, it's quite heavy
and? well, hard rocking. Trewavas' bass churns hungrily. It's much too
heavy for the HIE album, but a very good track.
"I Will Walk On Water (Alternative Mix)," is a pop-new wavy-rock
keyboard and guitar lead piece, soften roughed edge ? oh, I think of The
Romantic's "Talking In Your Sleep" (at least the underlying rhythm is
the same) given a bit of an Ah-ha kind of feel. Oh, there's certainly a
Marillion element with H and R, but? If the studio version of
"Splintering Heart" eased into things, the live demo dives right in with
percussion and the whine of guitar. There's something in Hogarth's
delivery that makes the lines seem just a little spat out. You can hear
the final version in what you hear here, but this is more biting.
"You Don't Need Anyone" is another pop song, that actually wouldn't have
fit on HIE (probably why it wasn't), but, oddly, might have fit on
Marbles -- Marillion does Mike and The Mechanics? it's sunny, energetic
pop. "Eric" is a piece where H demonstrates his midi-gloves, launching a
guitar solo, and "The Epic (Fairground)" includes elements that would
become "100 Nights" (the guitar bits, some of the lyrics) and, later on,
"Wash Your Hands" on Brave (some intro keyboard bits).
© 1997-2014 ProgressiveWorld.net
Holidays in Eden is the sixth studio album by the British rock band
Marillion and their second with vocalist Steve Hogarth, released in
1991. Produced by Christopher Neil, famous for his work with Mike + The
Mechanics, many of the songs feature a more mainstream pop rock sound
than the band's previous albums, and Hogarth has described it as
"Marillion's 'pop'est album ever". It reached number 7 on the UK Albums
The lead single "Cover My Eyes (Pain and Heaven)" was a re-write of
Hogarth's earlier band How We Live's song "Simon's Car". "Dry Land", the
third single, had previously been the title track of How We Live's only
album released in 1987.
As with the previous album Seasons End, the cover was designed by Bill
Smith Studio using a monochromatic painting by illustrator Sarah Ball
(born in Rotherham, South Yorkshire in 1965) showing various stylised
animals, a tree with a snake around it at the centre, and dominated by a
darkish blue colour for the front cover. This was Marillion's first
album not to feature their familiar original logo in any recognisable
form, using the band name in a normal typeface instead.
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