A long time ago, before CD remastered and expanded editions, collectors would have to purchase all of the singles to get the rare B-sides.  In fact, only some bands used to put something unreleased on the B-side to make the single more attractive to purchasers.  Marillion was one of those bands that was prolific enough to have additional material,l so it only made sense to give the fans additional songs that may be good but not quite what they wanted for the record (or were limited to the amount you could put on vinyl).  This album, which later was released on CD, is a great way for fans to get all the B-sides in one package making it a must-have for any fan.

This release was also timed when the band was in turmoil.  Their enigmatic front-man Fish was about to leave the band so this would give EMI something to put out while the band figured out their next step.  Even if this was a way to have product out in the public, it is worthwhile to have in the collection, even if you bought the singles.

This review is available in book (paperback and hardcover) form in Music Street Journal: 2025  Volume 4. More information and purchase links can be found at: garyhillauthor.com/Music-Street-Journal-2025.

Starting at the first single, this was on the B-side of the 12” single for “Market Square Heroes.”  You hear the Genesis influence all over this tune, and it is very similar to “Supper’s Ready” both in sound and length.  Clocking in at over seventeen minutes, this is prog rock at its finest.  It starts off with a very mellow section but does jump to more rocking modes.  There is much drama throughout the track and while some of the slower sections go on a little too long, as a whole, the band proved that they were more than capable of writing classic prog rock.

Keeping with singles from the first record, this one comes from the “He Knows You Know” single.  Even when writing shorter compositions, the band were still able to capture plenty of prog elements but still make it radio friendly.  To my ears, this one has more of a latter-day Genesis sound (think Phil Collins era).  More upbeat than the previous track, it also has a hit single feel which only drives the title home even more.

Here is a weird one.  This is a rerecorded version of their first single but slightly edited and featuring new drummer (at the time) John Marter.  This version doesn’t deviate much from the original and, to my ears, doesn’t sound that different.  I guess the band wanted something unreleased to add to the “Punch And Judy” single but this and the next song are the least interesting things here.

Also culled from the “Punch And Judy” single, but unlike the previous rerecording, this one sounds a little different.  You can tell the difference between the two versions, and I think I like this one better.  There is a little more light and shade with this one having a more dramatic performance.  While I don’t necessarily think it was needed to rerecord the tune, this one does improve upon the first version.

This haunting piece came off of the “Assassing” single, and they chose to put the edited version from the 45 instead of the full version on the 12” single.  Either way, you get a very cool mellow track that contains some great keyboard and guitar work.  As the song ends, it builds into a nice rocking crescendo.  I think this track was worthy of being on Fugazi, but vinyl had its limitations.

I reviewed this track as part of the Brief Encounter E.P. that was released in the US.  This version is shorter than the one on that release, pulling this one from the 7” inch of “Kayleigh.”  By 1985, Marillion were on a roll with Misplaced Childhood being heralded as a prog rock masterpiece.  This was sadly left off of the album but is a great tune nonetheless.  It’s a very 80s sounding upbeat tune about a prostitute with Steve Rothery supplying some great lead work.  After doing some research, I have come to find out that this one utilized a drum machine which gives it that 80s feel.  This is another case of great material being left off the main record.

Another very 80s sounding track, this one was a B-side to the hit single "Lavender."  As with much of the Marillion catalogue, this one is very keyboard heavy and takes a while to build.  Once the band get going, the song starts to rock a bit (as much as Marillion rocked).  There is a repetitive nature to the track, but back in the 80s, much of the material that had those “hooks” that would drive it home forever.  Even with that slight complaint, it is still a great turn.

While everyone raved about Misplaced Childhood, I always felt Clutching At Straws was the definitive Marillion release.  “Tux On” is another quality song from those sessions and it has all the mood, vibe, and grandeur of the main releases.  Lyrically, it fits with the rest of the album as it deals with a rock star who starts to abuse drugs.  I would recommend B’Sides Themselves for this track alone.

Bookending this album is another B-side from an early single "Garden Party.” This is where Marillion rocked pretty hard, and this live version of “Margaret” proves it.  Starting off with some bluesy guitar work, the track builds and builds until the band is in full motion.  By the sound of the crowd, this must have been a fan favorite at the time.  At the end, Fish says “goodnight,” so this was probably a set closer.  If you want to hear Marillion as a new band rocking it out for twelve minutes, then this is your track.