In 2002 EMI released a box with twelve CD singles by the British progressive rock formation Marillion from 1989 to 1995. It was the second single box of this type. While the first box covered the era of the charismatic singer Fish, the second now includes the story of the no less fascinating successor Steve Hogarth. The 57 pieces in the box, which is now out of print (the twelve CD singles were contained in cardboard boxes with original covers) will be released on April 19, 2013 as a 4-CD box.

It's a comparison that has dogged Fish throughout his professional career, but it's hard to listen to his music - either his work with Marillion or his solo albums - and not be reminded of prime-period Genesis, when Peter Gabriel was fronting the band. It's not only because his voice uncannily recalls Gabriel's and that the musical approach is heavily influenced by Selling England By the Pound and The Lamb Lies Down on Broadway, but it's also because Gabriel has stopped recording the kind of fruity, pompous prog-rock that dominates Fish's second full-fledged solo album, Internal Exile. That might sound like a harsh criticism, but it's meant as a compliment, simply because in 1991 - or for that matter, the '90s - nobody does classic British prog as well as Fish…

Originally released in March 1983, Script for a Jester’s Tear was certified platinum in the band’s native U.K. where it reached number seven on the Albums Chart and spawned two Top 40 singles: “He Knows You Know” (#35) and “Garden Party” (#16)…

Afraid of sunlight was Marillion's first real progressive album since Fish had left the band. While it does not rank as high as classics like Script for a Jester's Tear or Fugazi, it still has some very strong moments. "Cannibal Surf Babe" is a tribute to the '60s (sort of). It starts off like the Beach Boys' "California Girls" before turning into the nightmarish tale of a cannibal woman! But the best moments are in the second half of the album, with tracks such as "Out of This World," "Afraid of Sunlight," and "King." As usual with Marillion, the keyboards stand out the most. There are some very beautiful melodic moments and perhaps a better mix between calm and agressive melodies than on previous albums made with Steve Hogarth.

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.

Abandoning the acoustic approach of This Strange Engine, Marillion turns back toward the heavier sound of Afraid of Sunlight. Arguably influenced by Radiohead's 1997 album OK Computer, the album also shows a Beatles sound that lends more of a pop flavor than the band had shown before. "The Answering Machine," "These Chains" and "Under the Sun" are appealing tracks, while "Three Minute Boy," yet another Marillion examination of the impact of fame, contains some of Steve Rothery's best guitar work in years.

At the conclusion of the Script for a Jester's Tear tour, Marillion decided to give drummer Mick Pointer his marching orders, replacing him momentarily with Camel's Andy Ward and later by American studio whiz Jonathan Mover. Mover's recruitment proved to be short-lived, as Fish ushered in Steve Hackett's drummer/percussionist, Ian Mosley, whose spot-on drumming was the perfect foil for Marillion's meticulous musicianship. With Mosley, the band set out to record its sophomore effort…

Anyone who thought Fellini Days was a notch under Fish's previous two studio releases (Sunsets on Empire and Raingods With Zippos) should feel relieved after listening to Field of Crows, a very fine entry in the gentle giant's discography. Fish (ex-Marillion) is making the best out of his lowering voice on this album, which could be seen as a sign of maturity. This album rocks out, but it mostly relies on mellower tracks and simpler songwriting - something reminiscent of Ian Anderson's own dealings with an aging voice and more introspective interests. Fish's focus is not on extended suites and shifting moods anymore, but elegant, intelligent songs, and in that regard he deserves an A for Field of Crows…

Derek William Dick (aka Fish) was the dramatic lead vocalist for prog rock band Marillion until beginning a solo career in 1988. Marillion was initially formed as an instrumental band in 1979 by guitarist Steve Rothery, drummer Mick Pointer, bassist Doug Irvine, and keyboard player Brian Jelliman. Irvine began singing in 1980 on the group's first demos, but a year later Marillion invited Fish to join as vocalist, and he assumed the frontman position beginning with their 1983 debut album, Script for a Jester's Tear. His strong Peter Gabriel-inspired vocals enforced critics' accusations that Marillion owed more than just a heavy debt to Genesis, but six more albums followed. Musical difficulties between Fish and the band caused him to leave after 1988's Thieving Magpie (La Gazza Ladra). He was replaced by Steve Hogarth, a vocalist quite similar in sound and style to Fish himself…

Named after Marillion's Number Two U.K. Chart hit "Kayleigh," this set offers a haphazard track listing (identical to '96's Essential Collection) culled from the neo-prog giants' Fish-fronted period. As such, bona fide hits like the title track, "Lavender" and "Punch & Judy" are combined with less well-known (but usually still top-notch) fare such as "Jigsaw," "Lady Nina," and the monstrously overblown epic "Grendel."

Seeming to maintain some of the alternative pop style of its predecessor Radiation, this album also seems to hark back to an older Marillion era while still reaching into the future. The band really seems to be working at creating a new niche for itself in a more modern rock field, while still pulling in some of its legacy. Among the influences that appear on this disc are such diverse artists as Jellyfish, Yes, Pink Floyd, the Beatles, and ELP. It is a very entertaining album that really grows on you. The musicians are Steve Hogarth, Steve Rothery, Mark Kelly, Pete Trewavas, and Ian Mosley.

Featuring the best material from their first two albums as well as their classic debut single "Market Square Heroes," 1984's Real to Reel is an excellent live document of Marillion, the undisputed leaders of the short-lived mid-'80s progressive rock revival. In fact, these recordings make a strong case for the many fans who actually prefer the band's more refined live versions over their rather flat studio counterparts. For the uninitiated, Marillion basically picks up where Peter Gabriel-era Genesis left off, writing complex, multifaceted, and unashamedly overblown compositions topped with dense, often incomprehensible lyrics from vocalist Fish. Thematically, the darkly ironic "Assassing" and the flippant "Garden Party" are complete polar opposites and clearly display the band's incredible creative scope. But the album's centerpiece has to be the dramatic, ten-minute war chronicle "Forgotten Sons."

This lavish box set assembles all of the Fish-era singles released by Marillion, the undisputed leaders of the neo-prog movement. Clearly the stuff of manic collectors' dreams, this will far exceed both the interest and budget of casual listeners; but for those keen to possess a truly special heirloom to commemorate their heroes, this will fit that description quite nicely.

Marillion's Made Again is a good live double album; the first disc containing a great live set of tracks from Season's End, Afraid Of Sunlight, Misplaced Childhood and Holidays In Eden. The second disc contains a live version of Marillion's first real neo-prog extravaganza, Brave, performed live in its majestic entirety.