Show Notes
This week Mark and Tallulah talk through a difficult chapter in the band’s past: being dropped by EMI, ongoing money problems, Mark nearly ending up homeless, and the lack of support from their manager who suggested day jobs for the band might be the way forward. The conversation stays surprisingly light, including stories from Mark’s tumultuous love life.
More from Prog & Progeny
Mark and Tallulah finish their deep dive into Seasons End. Mark explains to Tallulah what a hair band is, and why Hooks in You put Marillion a little too close to being one: Rothery’s riff, synth brass with a nod to Jump, and a record label wanting a hit. Also how a critic’s “overworked guff” about The Space became “underworked guff”. Plus a £700 curfew bill in London's Hammersmith Apollo.
Former Piranhas guitarist, novelist and Marillion lyricist John Helmer joins Mark and Tallulah. He talks about Top of the Pops and Tom Hark, signing with Pete Waterman, and how one brief taste of success broke up his band. He explains the thinking behind his Marillion lyrics. John also remembers the night at Stanbridge Studios when he turned up in a suit and a Stetson during the writing of Holidays in Eden and sang a murderous cowboy song to a room of mushroom-fuelled "Mexicans." Links: The Tech Imaginarium Podcast https://learninghackpodcast.com/shows/the-tech-imaginarium/ Tom Hark - The Piranhas https://www.youtube.com/watch?v=VpfcPe_aFwk
We begin our deep dive into Seasons End - Marillion’s first album with Steve Hogarth. Mark and Tallulah explore the first four tracks - The King of Sunset Town, Easter, The Uninvited Guest and Seasons End - from the stories and meanings behind them to how they came together during a huge period of change for the band. Mark recalls finding H, whether there was ever a Plan B if fans rejected him, and why Marillion briefly considered changing their name. Link: Marathon singer Oliver Smith new E.P. https://open.spotify.com/album/68ky2prcbswKAT78xeEu5d?si=f0q775D6ShGoaPUMhHCFAQ&utm_source=copy-link
Mark and Tallulah finish Sounds That Can't Be Made. Why Power's lyric leaves Mark cold, how Mike Hunter pulled a buried vocal melody out of Invisible Ink, the home piano noodle that became The Sky Above the Rain, and whether Montréal deserves the bad press. If you click on this link before listening to the podcast you will probably wonder what that has to do with Marillion: https://www.sciencedaily.com/releases/2026/04/260406192809.htm
We jump forward to 2012's Sounds That Can't Be Made. We discuss the writing and recording of the first half of the album track by track.