In 1989 a by now Fishless Marillion got themselves a new lead singer, Steve Hogarth, and a much less Prog-Rocky sound. This was the first single and the first sight of Hogarth on Top of the Pops. No sign of Prog at all.
The second single from the Clutching at Straws album, which overall dealt with the effect, and strains, of continuous touring and presaged the split of Fish from the band.
This one contains one of Steve Rothery’s signature (and excellent) guitar solos.
This was the first single from Clutching at Straws, Marillion’s last album before the departure of Fish. The band’s sound had by this time become more polished, less raw than on Script for a Jester’s Tear and Fugazi and a concept album like its predecessor Misplaced Childhood. Dealing as it did though with the exigencies of pop stardom and lifestyle indulgence it had the potential to be alienating. The single did reach no 6 in the UK though. (And no 24 in the US.)
This piece of rather heavy-handed social commentary was, in 1983, the third choice of single for Mariilion.
As a result this version does not use the word that rhymes with rucking in the two words that follow it, presumably to avoid being banned and to safeguard airplay. Live versions of the track have no such inhibitions.
I hadn’t heard this version of the song till I looked it up for this post. On the basis of hearing Punch and Judy and the band’s performance on The Oxford Road Show I bought the album it’s from (Fugazi, the first Marillion record I ever bought) and the track on there is over 7 minutes long.
This is a somewhat brutal edit for the single release (and, I assume, radio play.)
Marillion: Assassing (7” edit)
The longer album version is here, should you wish to sample it.
This was the one that started it all off for Marillion in a singles sense but I didn’t come across it for a few years after its first release once I was catching up with their back catalogue after the release of their second album Fugazi.
There are some thematic similarities here with The Knife, the last track on Genesis’s second album Trespass.