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SEASONS END RELEASED 1 SEPTEMBER 1989


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Marillion's 5th Studio Album, Seasons End is a single album originally released in September 1989. This album was remastered in 1997. Please note:The 2CD remastered version is now out of print.
 
AVAILABLE RELEASE VERSIONS:
1CD Remaster Version: Standard Jewel case with CD booklet featuring original artwork & lyrics.
Vinyl Version: Cut from the original vinyl production masters. Reproduced in 180g heavy weight vinyl with a gatefold sleeve featuring the original artwork.
Download Version: Audio download not available.

ON THIS PAGE: Versions of this Album / Related Releases / Extra Information and Interviews
See below for a complete track listing/ audio preview & lyrics for the main version of this album.

Hover over album covers listed to the right of this panel to view a full track listing for each version

1CD REMASTER VERSION

CD 1


AVAILABLE VERSIONS FOR SEASONS END
1CD Remaster Version
Seasons End 1CD Remaster Version
Our Price: £8.99
£7.49 Outside Europe
BUY WITH CREDITS: 9
IN STOCK
Vinyl Edition
Seasons End Vinyl Edition
Our Price: £18.99
£15.83 Outside Europe
BUY WITH CREDITS: 19
Discontinued
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Interviews:
Seasons End : June 1997
Seasons End was the first album we wrote together. Early in 1989 we booked a couple of weeks at a residential rehearsal studio near Brighton so we could get to know each other and find out if there was a future in a working (or social) relationship. At this point, I wasn't officially part of the band - I guess I was ‘on trial', although I wasn't made to feel so. For me it was all a bit of an adventure - like going on your first school trip... but with amplifiers and good food... and without anyone telling you what to do. During the day we would jam and record... and at night when we'd had enough, we'd either stay in and play pool whilst listening to the day's jams, or we'd drive into Brighton and find a viby place to get slightly sloshed and talk rubbish... Sometimes we'd take sports cars and sometimes we'd pile into a van - it was all new, decadent, a bit surreal and, for me, incredible fun. I grew to love the boys in a very short space of time. The days were a natural downhill glide of inspiration and good ideas- I was jumping on every little thing and suggesting where we could take it - the album took shape as quickly as if it was writing itself and we were running along behind. We made demo's of the songs on Steve Rothery's peculiar 12-track multitrack recording mixer thing and, courageously we include some of them here for the first time... I look back on those days like kids look back on their favourite summer holiday - the sun seemed to shine every day and life was sweet with adventure and discovery. Then it got better! Once the songs were written, we descended on Hook End Manor - probably England's most luxurious recording studio - complete with swimming pool, sauna, games room, gym and accomodation in the fine old art-deco furnished Manor House nestling in the Oxfordshire countryside. Each room was decorated according to a theme. I chose the oriental room which I christened ‘The Opium Den' and moved my CP70 piano in, so that I could get up in the morning and play overlooking the huge gardens. At night, when the big purple curtains were drawn, it didn't take much imagination to convince myself that the ghost of Byron slept beside me... especially after a couple of tequilas...
We moved in to Hook End on the 28th of April and, on that day, the sun came out and stayed with us until we left in July. We would record by day and when we finished work around 9.00 we would build hot air balloons out of dry-cleaning bags and birthday candles. Crosses of light would drift gracefully upward in the darkening skies over Gallowstree Common. Encouraged by early success, Mark Kelly progressed to contraptions made from space-blankets and camping gas stoves. I remember the fire brigade turning up in a blaze of blue light and noise outside my window at 2.00 in the morning after Mr K had triggered the studio fire alarms whilst testing a ‘new improved' (with a Black & Decker drill) gas burner in the back room. I turned over and went back to sleep - the bizarre was now well and truly commonplace. It has remained so to this day.

Seasons End : June 1997
The first time I saw Steve H he turned up at my house a whole day late. We were writing songs and looking for a singer/lyricist using my garage as a rehearsal place at the time and it became the base for the band for a while. Unfortunately because I have two cats, Steve's audition/meeting had to be held mostly outside the house as Steve is allergic to cats - a bit on the cold side in early January in England. Nevertheless it went well and we started jammin' through bits and pieces as you do. We all took to Steve and knew from tapes he'd sent and our own research he was an accomplished singer and songwriter. It all seemed instinctive and he was in tune with what we were doing. Very soon a bond of mutual appreciation had developed. We went to Brighton to write the album which would become Seasons End, really to see how we would all get on together.
For two weeks we worked, slept and breathed the songs that would become the album. We would put together song arrangements during the day and record them in various forms on 8 track (with Priv at the helm) and play pool and listen to the days events all evening, making comments on the way and the next day we would either improve on them or move onto another song We started with music that was already written i.e. Season's End, Berlin etc. and got onto new things like Holloway Girl, with Steve's bucket of material joining in when possible i.e. Easter.
This was once again an exciting and new era.
CARL GLOVER
Seasons End : July 1997
I can still remember the day when Bill [Smith, of Bill Smith Studios] came into the studio fresh from a meeting with Steve Davis at EMI, (Steve was Marillion's Product Manager at the time) brandishing details of our first Marillion job - the album ‘Seasons End'.
A challenge.
Marillion, like their labelmates Iron Maiden, had a very distinct identity. Our mission was to reinvent the band's graphic image without alienating existing fans.
Another challenge.
It is only with the benefit of hindsight that we can see that ‘Seasons End' coverwise was a bridge between the strong illustrative work of Mark Wilkinson and the photographic approach preferred by the studio at the time.
Bill thought that considering the album title, we should exploit the universal theme of the elements - land, water, air and fire. It was also a farewell to the previous incarnation of Marillion so we used clues from previous albums in combination with these elements.
1989 was a completely different time for graphic designers. It comprised of being a dab hand with a scalpel, Rotring pen and drawing board. Nowadays computers can do the lot (I'm using one right now) and very well too. As you can probably tell, the feather and the chameleon are Rotring pen jobs, the bell from the jester's hat and the clown painting were cut out (using a scalpel surprise surprise!) from earlier sleeves. When redoing the front cover art for this remaster I made one important change to one of the images, and that was adding a reflection to the clown picture in the water.
In many respects this album was the visual template for the three singles that came off it: ‘Hooks in You', ‘Uninvited Guest' and ‘Easter'. By this time Bill and myself had established a good relationship with the boys. It was when working on a limited edition 12” variant of the ‘Easter' sleeve that things started moving in a different direction. Bill had mentioned using a sack with the Marillion logo stencilled/burnt on as the cover image, we didn't really have much time on this one, so I used what I had to hand. Namely a yellow Post office bag for 50p pieces and some budgie seed. The trick was in the photography, using a very high contrast on the print and then adding colour at the repro stage (the stage before printing). The crucifix was also added at this point, the finished effect was quite dramatic and pointed the way towards ‘Holidays in Eden', ‘Six of One, Half a Dozen of the Other', ‘Brave' and ‘Afraid of Sunlight'.
What we were trying to achieve with Marillion's covers was an aura of mystery, of greater forces at work (not necessarily religious) whilst attempting the difficult brief of ‘trying to make it look like it sounded' and pleasing the chain of people from the record company through to the management and finally the band (sometimes the other way round).
Bill and myself always had a great time working with Marillion, who I've always found receptive to new and sometimes off the wall ideas.
May their tribe increase.