Show Notes
In episode 35 we discussed the making of the Marathon album and our first attempts at writing together. These early efforts never came to anything, but for your amusement here's the music I sent to Guy to inspire him to write some lyrics. You might recognise the opening bars as I used them for the intro of the song 2051. It came out of a couple of days of jamming at the Racket Club in 2012 with Steve Lawson (bass) and Roy Dodds (drums). You can find out more about Steve's work here and Roy's here. Mike Hunter recorded and edited these jams into something more coherent — much as he does with the Marillion jams when we're writing — though it's still far from what you'd call a finished song. Adding the number station recordings was Mike's idea, and I think it gives the piece an intriguing atmosphere. I hope you enjoy it. Mark
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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.