Progradar

‘Holidays in Eden’, first released in 1991, is the latest edition in Marillion’s series of deluxe re-releases. This was a release for which their record company E.M.I. had high expectations of the band after Steve Hogarth’s debut album with the band in 1989. ‘Seasons End’ was relatively successful, but crucially for E.M.I. it did not spawn any great singles success which would have helped it ‘cross over’ from the niche rock market, as ‘Kayleigh’ had so memorably done in the mid-80’s. Therefore, the pressure was on for Marillion to become more commercial although the band were largely more interested in writing more ambitious pieces than three-minute radio hits. Out of this tension developed an album which certainly divided opinion at the time, but which also produced some classic Marillion songs, particularly the stark brilliance of Splintering Heart, which remains to this day a staple of their tours, often opening shows with a dark grandeur.

So let’s put this album in context – It is a common perception that most bands have a ‘difficult second album’ (and Marillion certainly did so with ‘Fugazi’ with Fish in 1984!!), but uniquely somehow Marillion contrived to have a ‘second difficult second album’ as ‘Holidays in Eden’ was a far from smooth process for Steve Hogarth’s sophomore album with the band. What the band were finding is that working on the next release with Hogarth was simply not flowing in the same way as their experience with ‘Seasons End’. Writing sessions at Stanbridge studios near Brighton were lengthy and frustrating, producing little material. ‘Seasons End’ had already had a lot of the music formed with sessions with Fish that never reached fruition. Lyrically, John Helmer had also written significant contributions, so when Steve Hogarth joined it felt deceptively easy to hone this material with some added material, such as Hogarth’s ‘Easter’, into an excellent album. Their second album with Hogarth was much more of a challenge, starting more or less from scratch. Hogarth and the band were discovering they had very different approaches to song writing and it took them some time to adjust to each other. Indeed, at one-point tensions grew to the point that Hogarth was effectively ‘sent home’ as his more rapid, business-like song-writing style just was not matching the rest of the band who were rather more into improvised jamming over long periods, looking for that elusive spark amidst hours of often fruitless playing. However, after that ‘break’ Hogarth returned two weeks later with a whole new song for the band, ‘The Party’ very much in the Marillion mould. Additionally, in his absence the rest of the band returned to material they had originally demoed in 1988 with Fish in ill-fated sessions at Dalnagar Castle in Scotland and eventually out of those ideas grew the closing suite of ‘This Town / Rake’s progress / 100 Nights’… but it was clear that generally things were not quite flowing second time around.

The band attempted to recreate their happy memories of the recording of Season’s End, returning to Hook End Manor in Oxfordshire – but they do say ‘never go back’. Marillion found this was not such a magical experience, partly because it was in winter and not a glorious summer as it had been for the previous album, and possibly because E.M.I. were not being quite so ‘laissez-faire’ with funding their rather extravagant life in the country! Marillion’s previous producer Chris Kimsey was not available so E.M.I. put forward Chris Neil as their next producer, who had previously starred as Jesus on the West End in ‘Jesus Christ Superstar’… and rather more curiously had also been the lead in a cheap early 70’s sex comedy film ‘Adventures of a Plumber’s Mate’! In the music industry he was rather more well known for great success with pop acts like Shakin’ Stevens, Dollar and Sheena Easton. In the period leading up to ‘Holidays in Eden’ he had also produced Mike and the Mechanics for their massive hit album and single ‘The Living Years’, so it seems evident that E.M.I. had aspirations for Marillion to similarly have success as a chart friendly soft rock band. Chris Neil’s association with the main ‘Mechanic’ Mike Rutherford of rock behemoths Genesis certainly made him a palatable and quite enticing option for the band. Chris Neil also told them that his son was a massive Marillion fan, so he really did not want to mess them up. On the other hand, he also knew that the record company were expecting him to produce three hit singles off the album to project the band onto the next level and match their previous mid-80’s chart successes. Hence, out of that tension between Marillion’s progressive leanings and a record company’s desire for ‘hits’ was born the curious creature of ‘Holidays in Eden’.

It is probably fair to say that fan reaction at the time was mixed. Jon Collins in his fine Marillion biography ‘Separated out’ shared that the Dutch Progressive Rock Page reported that on the ‘Holidays in Eden’ tour at the Ahoy in Netherlands ‘a substantial part of the audience booed when Steve Hogarth announced they would be playing quite a lot from the new album’. In contrast, notable fans such as guitarist Janick Gers of Iron Maiden has said that ‘Holidays in Eden’ is one of his most favourite albums and apparently Formula One Racing driver Jacques Villeneuve used to listen to the album while practising for races! Pete Trewavas wisely said in the fascinating accompanying Blu-ray ‘Pain and Heaven’ documentary, for some fans who had started following Marillion with ‘Seasons End’ or ‘Holidays in Eden’ this album may well be one of their favourite Marillion albums as ‘these albums end up becoming other peoples’ really.’

So how does it sound over 30 years later?

There will probably be two sorts of potential listeners considering this album – those that have bought it previously and are interested in the musical ‘extras’, the remixed sound, and the packaging. There will be others who may be discovering Marillion more recently who may know little about this album and wonder whether it’s worth buying?

The short answer is a qualified ‘YES’ – in truth this album was too hamstrung by compromises to be considered as one of their best albums, but there is enough quality in the original material and the extras to satisfy punters old and new. Unlike the flawed and rushed original mix of ‘Fugazi’, which the deluxe edition remix transformed wonderfully, this remix of ‘Holidays in Eden’ does not have the same transformative effect, as the original version was pretty well produced and mixed. However, this remix does add a new dimension to some of the songs and there is much else to attract longer term followers. A little more information on the tracks may help new listeners, and may provide some insights for long-time fans.

The more progressive elements of Marillion are well represented on this album with ‘Splintering Heart’, ‘The Party’ and the closing ‘This Town’ suite. ‘Splintering Heart’ started out rather differently in the demos, beginning much more heavy with a wall of wailing guitars, as can be heard rather spectacularly on the Blu-Ray with an early version recorded live at the Moles club. Chris Neil in Steve Hogarth’s ‘Corona Diaries’ podcasts has shared that he felt that the original version did not have enough dynamic range as an album opener so he suggested a different spookier intro, which rather belies the notion that he was just there to make them sound more ‘poppy’. Steve Rothery and Mark Kelly spent quite some time devising the atmospheric opening sequence of loops and synthesisers – it helped transform a fairly standard rock song into a classic, dripping with menace as ‘h’ sings with such feeling over the extended intro until the jaw dropping moment when he sings ‘but not as much as this…’ and the whole band crashes in like an avalanche, with Rothery’s guitar screeching like a banshee. The piece drops again into a more contemplative, shimmering section based on guitar samples Hogarth used to trigger with his white midi-gloves for live renditions of the ‘Seasons End’ song ‘Berlin, apparently one of the few times that something emerging from a Marillion gig soundcheck has evolved into a song. The song rises to a crescendo with Rothery seemingly wringing the neck of his guitar with pain filled guitar sounds and one can really imagine someone’s heart shattering. Hogarth has previously shared in the 1998 remaster version that he wrote the lyrics in a rather icy Toronto in 1990 and that he was ‘imagining a heart shattering from its own hardness… or coldness’. Splintering Heart continues the fine Marillion tradition of brilliant album opening songs and it remains a sure fire way to start a Marillion gig all these years later.

The more Progressive flavour of the album continues with ‘The Party’. Hogarth had started work on this during the ‘Seasons End’ writing sessions but largely finished it whilst he was on his aforementioned ‘break’ during the ‘Holidays…’ sessions. This song goes totally against the idea by some fans at the time that Hogarth was the pretty ‘pop boy’ trying to commercialise Marillion – as Hogarth wrote in the 1998 remaster sleeve notes ‘if Splintering Heart and The Party are pop songs, I’ll eat my pink telecaster!’ Indeed in the ‘Pain and Heaven’ documentary Pete Trewavas described ‘The Party’ as ‘quite classically Marillion’. ‘The Party’ is a recollection of teenage parties, drawn from Hogarth’s adolescent memories of dubious underage drinking and the sexually charged atmosphere pervading such gatherings. Some of the lines were also inspired by another party – Hogarth’s experience with Magic Mushrooms after a memorable ‘Mexican Party’ at Stanbridge studios! ‘The Party’ starts quite simply with Steve Hogarth singing about a girl buying a bottle of cider over a simple Kelly piano motif, initially mirroring the naivety of a young girl going to her first party. The rising tempo and power of the music evokes the developing drama with ‘strange aromas, and noises and candles, that was where he found her’. Chris Neil recently shared in ‘The Corona Diaries’ podcast how impressed he was with Hogarth’s lyrics for ‘The Party’. He loved the lyrical story with its plot and nuances, describing Hogarth’s songs as ‘one act plays’. The rest of the band provided the backdrop for this drama as the trippy middle section in which ‘she never felt like anything like this before’ gives way to a distorted, guitar solo and great rumbling bass work and dissonant drumming, evoking how she would have been feeling after her first drug experience. Hogarth screams in anguish before the inevitable ‘come down’ over a plaintive piano and Hogarth’s voice conveying the feelings of the girl after losing her virginity in less than romantic circumstances. In some ways there are echoes of the much more celebrated classic psychodrama ‘Incubus’ song from ‘Fugazi’, and in my view ‘The Party’ is a highlight of ‘Holidays in Eden’, and rather an underestimated gem in the Marillion songbook. Curiously, Hogarth also shared with ‘Prog’ magazine that the teenage party upon which this story is based was also the first time he ever heard ‘The Yes Album’ by Yes which he says ‘changed my whole idea about music’– sounds like quite a party!! (😊)

The album is closed with the 12 minutes progressive rock three act play comprising ‘This Town’, ‘The Rake’s Progress’ and ‘100 Nights’. During the early writing sessions the band were struggling to find a creative spark so they returned to material from the abortive Dalnagar sessions in 1988 with Fish, and they found the basis for this closing epic.’ ‘This Town’ rolls in on a police siren , a wave of Mosley’s drumming and some gritty guitar from Rothery. Kelly’s keyboards rise as they reach the rousing chorus. Rothery’s guitars get dirtier as the story descends into corruption and Hogarth’s vocals become more strident, and after the final chorus Rothery’s guitars reach skyward conversely just as the narrative takes a decidedly darker  descent:

‘This Town takes us down, takes us down, I feel like I’m losing you to This Town,

The morning breaks and I watch you awake and This Town takes you down away from me again.’

The semi-autobiographical but mainly fictional story focuses on how a couple move to a city to make their fortune. However, they discover that cities can corrupt, and it starts to tear them apart as they follow their own ambitions. The short middle bridge in the suite, The Rake’s Progress, takes a very different direction musically with muted dreamy synth tones, subtle bass pulses, restrained rolls and splashes of toms and cymbals and eerie guitar phrases conveying a sinister, shadowy world in which our main protagonist transforms from being the jilted broken heart into a manipulative, cynical gigolo. The title is also a play on words as ‘The Rake’s Progress’ is a series of paintings by C18th painter William Hogarth (no relation!) about a young man’s descent into drunken debauchery and eventual insanity.  

The final piece of this suite is the dark brooding ‘100 Nights’ which chimes in on a simple echoing guitar motif and synth accents with our anti-hero manipulating all around him without compunction. Hogarth sings with deceptive gentleness, a wolf in sheep’s clothing, ruining a relationship with cool indifference. Rothery’s screeching guitar break almost screams out the real corruption at the heart of this story and Hogarth’s vocals rise in power with the whole band. ‘100 Nights’ seems to just fade away with a rolling guitar riff and echoing vocals on a subtle bed of keys, drums and bass – maybe it signifies that the main protagonist will drift on exploiting others endlessly, but it is rather disappointing as a finale. In the documentary Mark Kelly comments that in his view ‘we skimmed the surface of it in terms of what we could have done with it instrumentally’ which seems to confirm the nagging feeling that this was a lost opportunity with a great foundation which was not fully explored or expanded enough. Kelly has also said that Chris Neil worked very quickly and that his no nonsense approach rather limited musical experimentation, especially for the keyboards, except notably his inspired suggestion for the start of ‘Splintering Heart.’ For a producer with an ear for hooks and hits it is probably not too surprising that when it came to helping the band fashioning more ambitious extended pieces, he was rather less motivated or instrumental in realising those sorts of musical visions.

This is perhaps borne out by the interesting lineage of ‘This Town’ which can be traced on the deluxe edition as the Blu-Ray includes a very early demo version at Stanbridge, and then a later live demo at the Bath Moles club, through to the recorded album version. What is notable about the Stanbridge demo, recorded without the producer, is that it has a distinctly staccato and rockier feel much in the vein of classic songs by The Who – indeed Ian Mosley shared in the documentary that it was known as ‘the Who number’ in the Stanbridge sessions. The later Moles Club version seems to take it further into heavier territory with great energy. In that context it is easier to understand some of the disappointment expressed by both Ian Mosley and Steve Rothery in the documentary about the loss of that energy and feel in the final recorded version. Steve Rothery did remark that the new remix does restore some of the ‘meat it lacks on the original’ album version. It is also notable that now if Marillion play the ‘This Town’ suite they embellish it sonically and with much more power as if making up for not having done so originally.

Mark Kelly in his entertaining autobiography ‘Marillion Misadventures and Marathons : the Life and Times of Mad Jack’ describes ‘Holidays in Eden’ with the old football analogy as ‘an album with two halves. The pop approach of our singles… and, so not to scare the horses and some of our older fans, the longer episodic pieces…’ Before venturing into the ‘Pop half’ there is one halfway house in the shape of the far more straightforward rock of title tune ‘Holidays in Eden’. Based on a John Helmer lyric about going on holiday and losing your identity ‘Holidays in Eden’, begins with birdsong and a jet plane before launching full tilt into the main riff with crashing drums, banks of keyboards and power riffs before receding into jangling guitars and soft drumming on a synth bed. The rolling anthemic refrain precedes some meaty organ work from Kelly and the whole piece bounces along rather jauntily before some steepling guitar lines at the rather apt mid-song break ‘You wake up one morning, wondering who you are’, which may have crossed the minds of the band during this recording process as they sought to find their new identity.

The song ploughs on with the same rock driven pattern with a rising Rothery guitar and Kelly keyboard crescendo and a rather abrupt ending and a muted ‘well, that was a laugh, wasn’t it?’ heard in the background. It’s a straightforward engaging piece of rock/pop but it seems to have disappointed the band. Written by the rest of the band whilst Hogarth was on his ‘break’, in the 1998 remaster notes he suggests the music could have been a lot wilder to reflect the primal elements of the story. Pete Trewavas shares this reservation stating that it ‘should have been more than it was’. Similarly, Rothery states in the documentary that their live version gives it more energy and rawness, and in his view the remix has restored some of that edge.

Chris Neil had a brief from E.M.I. to find three hit singles. The first obvious candidate was ‘No One Can’, based on a chord sequence by Mark Kelly upon which Hogarth wrote a touching love song for his wife and shared memories with his children, about distance not mattering if you are in love. Mark Kelly considers it a good pop song although felt a little frustrated that for Neil the main focus was always about the vocals, which are lushly arranged with Hogarth sounding gorgeous, but no real room for any musical experimentation or embellishment, except a short clean and compressed guitar interlude. There are definite echoes of the smooth jangling chimes of The Police’s ‘Every Breath you take’, but alas despite extensive radio play at the time and a stylish video it did not really penetrate the higher reaches of the U.K. charts. It is probably the most commercial song the band have ever produced and certainly caused some consternation with some older fans at the time, but looking back now it just feels like a pleasant, pretty pop song – indeed, as Hogarth has said in his ‘Corona Diaries’ podcasts it definitely sounds like a hit from 1992… but it wasn’t!

The first single off the album was the rather more upbeat pop/rock of ‘Cover My Eyes’ (Pain and Heaven)’ which was not even a song before Chris Neil joined them to produce the album. He suggested marrying a distinctly U2 or Simple Minds like guitar riff and vocal melody by Rothery with a verse from an old song by Hogarth’s previous short lived ‘How We Live’ band, called ‘Simon’s Car’. Apparently, the lyrics are partly inspired by the glamourous 60’s British film actress Eleanor Bron, probably embodying all such unobtainable beautiful women, as reflected in the beautiful women populating the rather stylish pop video. It is a fun piece of rollocking pop/rock with an anthemic ‘hey, hey, hey’ call echoing a certain Simple Minds refrain. The band roll along to great polished effect with Rothery sounding suitably heroic on guitar. One curiosity about this song is that for some strange reason Chris Neil brought drummer Roland Kerridge into the studio to sample Ian Mosley’s drums so they could be played on an electronic kit, which was quite the fashion at the time. Mosley plays the drums on this song but they are all electronic, hence their rather ‘shiny’ and ‘bright’ sound – they sound ‘OK’ but why sample drums electronically when you have a drummer of the class of Ian Mosley in the studio? Chris Neil has since had the good grace to admit that this probably not his best idea!

There was still one more ‘single’ Chris Neil needed to fashion for the album to satisfy the label, so he suggested that Marillion cover ‘Dry Land’ from the only ‘How We Live’ album. Hogarth explains in the documentary that this felt rather awkward and weird for him as it was ‘not something I would have pushed for myself’, thereby squashing further the notion that it was Steve Hogarth who was pushing the band in a poppier direction. Nevertheless, Hogarth gives a great vocal about the sexual tension of thinking there may be something going on with someone you like, but not being quite sure. ‘Dry Land’ is very close to the original ‘How We Live’ version – indeed , it’s almost a carbon copy! Marillion smoothly lay out a bed of softly chiming guitars and string synths underpinned by a cool bass and drums foundation. The main variation to the original is Rothery’s delightfully tasteful guitar solo, which surprisingly Rothery states is the solo he is most proud of on the whole album.

Every Marillion album has at least one ‘hidden gem’ which seems to not quite gain the attention it may deserve in comparison to other more celebrated songs. For me on this album it is Waiting to Happen, and it was pleasing to note in the documentary that Steve Rothery feels it is one of his favourite songs from the album and ‘it’s what I would have wanted from the whole album’. Apparently, the band were considering dropping it, but Chris Neil wisely encouraged them to persist with the song which was eventually beautifully realised. It starts gently on a pillow of acoustic guitars and softly undulating synths upon which Hogarth sings with such grace about the magic and beauty of Love just below the surface in our lives. Hogarth shared that this lyric was based on a memory of lying in bed in his house unable to sleep ‘I lie awake at night, listening to you sleeping, I hear the darkness breathe’ and such is the gentleness of the words and music you almost feel you are in the same room. Out of this soft cocoon the spirit and music build to the bright sunburst of the chorus. Steve Rothery inevitably crowns this gem with a short but lovely guitar solo. The balance of the restrained verses and the celebratory choruses is the real power of this song, and Hogarth excels himself with some beautifully poetic imagery… insomnia never sounded so glorious!

Despite the attention Chris Neil and the band skilfully paid to these three ‘pop’ elements of the album none of them reached far up the charts, and from that album onwards it was clear that E.M.I. were losing patience with the band. Similarly, after the experience of being guided in a direction with which they were not totally comfortable Marillion were determined that in future they would remain in full control of future albums. Being typically Marillion they next moved almost 180 degrees from the ‘poppiest’ album of their career to one of their most progressive and ambitious releases, ‘Brave’ in 1994… but their days with E.M.I. were numbered. The main flaw with ‘Holidays in Eden‘ is that it simply tried too hard to satisfy conflicting aspirations, chart pop success versus expansive progressive rock pieces, and frankly it was largely unsuccessful on both counts. That does not make it a poor-quality album – there’s some great songs on here, and none of them are below standard. However, that unresolved tension resulted in diluting the focus with significant compromise and undermined the cohesiveness and feel of the album. The consequence many point to that arose from ‘Holidays…’ is the very different ‘Brave’ which was clearly a reaction to this one, but interestingly in the documentary Pete Trewavas intelligently draws a link to their great ‘Afraid of Sunlight’ album in 1995. He feels that what Marillion were trying to do on ‘Holidays in Eden’ was an album like ‘Afraid of Sunlight’, but ‘we just didn’t know how to do it’, which is a fascinating thought.

That’s the album – so what do you get with the deluxe edition, particularly if you are already familiar with the original album?

There is not the revelatory experience akin to the remix of ‘Fugazi’ for this remix, but it is definitely crisper and more impactful. It is perhaps significant that the songs which benefited most from the remix were the more ambitious, expansive pieces. Splintering Heart’s sinister programmed intro is more resonant and chilling, and The Party is noticeably sharper, with Pete Trewavas’ bass definitely and pleasantly higher up in the mix. ‘Holidays in Eden’ clearly has more ‘balls’ sonically. The remix for the shorter, more pop oriented pieces seem less obvious in impact, but in truth none of these changes are startling which is a testament to the quality of the original production. Of course, some with high end music systems will probably be able to detect the tiniest differences and pick up on them, but to most mere mortals with standard equipment the differences are not enormous, but definitely do improve some of the songs.

Discs 2 & 3 of the deluxe edition contain a brilliant recording of the band at Hammersmith Odeon in 1991 – it’s a fantastic recording of a great gig. Marillion may have gone through some changes and challenges in their career, but they are never less than great on stage. There is a healthy mix of old and new material, and it was clear that by this time Hogarth was growing into the skin as the new Marillion vocalist. Unexpected gems include the sinisterly delicate ‘A Collection’ and two deep cuts from ‘Misplaced Childhood’. The material from ‘Seasons End’ sounds particularly effective in this show, especially ‘King of Sunset Town’ and ‘The Space…’, as they had more time to ‘bed in’ with the band.

The main attraction of the deluxe edition are the extras, including the ‘Pain and Heaven’ documentary in which each band member and the producer are interviewed individually. This may have been a covid issue, but interviewing them singly does seem to free up some band members who may not speak so much in a group interview. There are some fascinating insights from the band members into the album, although it is interesting to note that Steve Hogarth has admitted in the ‘Corona Diaries’ podcasts that the director Tim Sidwell had to re-edit the film as they were so self-critical that ‘it comes across everyone thought the album was a huge mistake’!! (😊) To be honest, you still sort of get that sense underlying Steve Rothery’s contributions, but it would be unfair to completely dismiss the album when one considers the quality of some of the songs already described.

In addition, the Blu-ray includes the album in 5.1 Audio which reveals the album in more satisfying surround sound clarity. The B-Sides and Bonus tracks from the 1998 remaster are also included on the Blu-ray, although I know some fans without that previous version will be disappointed that these tracks are confined to the Blu-ray on this edition. There are 4 videos of the band, including the great ‘crunchy’ original Stanbridge demo of ‘This Town’. The Blu-Ray also features the glossy videos for the three aforementioned singles – these are definitely ‘of their time’, but are fascinating insights into the ‘Pop machine’ E.M.I. wanted Marillion to join… but they resisted… and are still going strong over 30 years later.

Finally, one of the best elements of the deluxe edition is ‘Rockpalast’ video of their gig in Germany in 1991. What is clear is that this is a highly professional and confident live outfit with impeccable musicianship. Needless to say, they all look SO much younger, and Hogarth is impossibly handsome as their dynamic front man – no wonder E.M.I. wanted him to feature in the videos. It’s a television recording, but the quality on Blu-ray is fine and the crowd seem to lap up the show.  What is rather different to the Hammersmith show is the extended encore section with five Fish era songs, perhaps with a German TV audience in mind, which Hogarth handles with aplomb.  Somewhat unexpectedly they break into Cliff Richard’s ‘Summer Holiday’ during ‘Garden Party’ and ‘Sugar Mice’ is presented acoustically without Rothery’s guitar solo. The deluxe edition is presented in the usual attractive book form with Sarah Ball’s original striking beautiful blue illustration given more space – this as the first Marillion album to ditch the classic Marillion logo as it seemed clear they wanted to break from that image. The book and lyrics are decorated inside with some gorgeous artwork from Simon Ward and there is an interesting essay by Rich Wilson.

‘Holidays in Eden’ will never be regarded as one of the great Marillion albums. It showed a band at the crossroads, looking for a new direction but still not sure where to go at the time and pulled in different directions. Nevertheless, it is a significant album which strangely did influence their next step and underlined to the band the importance of artistic freedom when writing their music. Look back and wonder what might have happened if one of those singles had been a big hit – what would we have missed? Look back and see a band evolving towards a different future – clearly there was ‘Something Waiting to Happen.’

TRACK LISTING:

CD One –  Holidays in Eden 2022 Remix

1. Splintering Heart                                     (6.45)
2. Cover My Eyes (Pain & Heaven)           (4.04)
3. The Party                                                  (5.37)
4. No One Can                                              (4.46)
5. Holidays in Eden                                      (5.23)
6. Dry Land                                                    (4.45)
7. Waiting to Happen                                  (4.55)
8. This Town                                                  (3.19)
9. The Rake’s Progress                                (1.54)
10. 100 Nights                                                 (7.47)

CD Two –  Live at Hammersmith 30^th September, 1991 (pt 1)

1. Splintering Heart                                      (6.47)
2. Garden Party                                             (7.13)
3. Dry Land                                                     (4.51)
4. The King of Sunset Town                        (8.12)
5. The Party                                                   (6.08)
6. Easter                                                         (6.34)
7. The Space…                                               (7.50)
8. Holloway Girl                                            (4.05)
9. A Collection                                               (3.14)
10. Waiting to Happen                                  (5.08)

CD Three – Live in Hammersmith 30^th September, 1991 (pt 2)

1. Cover My Eyes (Pain & Heaven)            (3.55)
2. Lords of the Backstage                            (1.51)
3. Blind Curve                                                (4.15)
4. The Uninvited Guest                                (4.25)
5. This Town                                                  (3.44)
6. The Rake’s Progress                                 (2.15)
7. 100 Nights                                                 (4.46)
8. Slainte Mhath                                           (5.10)
9. Holidays in Eden                                      (4.47)
10. Hooks in You                                             (3.15)
11. No One Can                                               (4.56)
12. Berlin                                                          (8.14)
13. Kayleigh                                                      (3.52)
14. Incommunicado                                        (5.11)

Blu-Ray Disc

‘Holidays in Eden’ 2022 Stephen Taylor Remix – 5.1 Audio Version:

• Same Track listing as CD 1

B-Sides & Bonus Tracks   (1998 Remaster Bonus Tracks):

• Sympathy
• How Can it Hurt
• A Collection
• Sympathy (Acoustic version)
• I Will Walk on Water (Alternate Mix)
• Splintering Heart (Live at Moles Club)
• You Don’t need Anyone (Moles Club Demo)
• No One Can (Moles Club Demo)
• The Party (Moles Club Demo)
• This Town (Moles Club Demo)
• Waiting to Happen (Moles Club Demo)
• Eric
• The Epic (Fairground) (Mushroom Farm Demo)

Film – ‘Pain and Heaven’  (Approv 85 Mins)

The Story of Holidays in Eden  (Documentary)

‘Rockpalast’ Live show – German TV 1991.

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