The Red Bucket Tapes

Europeans & How We Live ideas as used by Marillion & h


The legendary Red Bucket!



Steve Hogarth arrived at his first audition with Marillion carrying a red plastic bucket.  It contained cassette tapes of half-finished sketches, demos and ideas that he had recorded whilst a member of Europeans and How We Live.  The Fish-less Marillion had composed a lot of music for the ‘Seasons End’ album throughout 1988, but during fresh writing sessions in early 1989, they would look to Steve for his ideas:  "If we ran out of ideas the boys would say 'have you got anything in the bucket?' and I'd take out a cassette and say 'what do you think?’”  Over the years, many of these ideas have been used, not only by Marillion, but also on Steve’s excellent ‘Ice Cream Genius’ solo album, the h band gigs & album, and his ongoing h natural shows  Here’s a look at where these gems originated, and what they later became.






Steve visited Belfast with the Europeans in the early 1980s (22/02/1984).  “Back then, the Irish troubles were always in the news, and to someone who knew very little of Ireland, I was nervous going there.  I thought we’d get blown up, or shot or something.  But we got there, and the experience was totally different. I found Belfast really uplifting.” Steve returned again to Ireland in 1986, with How We Live.  In early 1988 he started to write the song that would become ‘Easter.’  “I've always loved the romantic Irish spirit, and I always wanted to write a love story for the country.  A little message of hope for the ordinary people who have nothing to do with the troubles but have their lives inextricably interwoven with them.”


‘Easter’ was written in an unusual way:  “I very, very rarely conceive vocal melodies as ideas within themselves.  Most of the time I just feel the melodies of the chords, but for Easter I had a very specific idea of the tune before I found the chords that went with it.”  Elsewhere, Steve has described how he wrote these words and married them together with a melody which set out to be, for Ireland, what 'The Skye Boat Song' is to Scotland.  Perhaps the lilting, folky melody was the starting point for the song idea.  “The words are heavily influenced by my favourite poet, WB Yeats.  His poem ‘Easter 1916’ was the inspiration for this song, along with my own experience of touring in Ireland" 


Steve and his HWL bandmate Colin Woore demoed the song at a tiny studio in London in 1988.  It was this demo that was plucked from the bucket during Marillion’s writing sessions at The Mushroom Farm in Brighton, in early 1989.  In fact, the band had already heard the song months earlier on an audition cassette submitted by Steve's publishers, Rondor Music.  Steve remembers “It was already a song in so much as there were two verses, a chorus and the tinkly instrumental section. It became longer and more wonderful after the boys got their hands on it."  The guitar on the How We Live demo played an arpeggio, similar to the piano part.  Steve Rothery decided to play the chords on a 12 string acoustic guitar, in a way that seemed a lot more natural to him.  Whilst in Brighton, The band had learnt the song from Hogarth’s demo, and were running through arrangements, when Rothery improvised a blinding solo.  Bassist Pete Trewavas remembers “this guitar solo just seemed to grow out of nothing.  Luckily we were recording it onto a portastudio (tape recorder) and that very solo was the one we later got Steve to re-learn and play for the album."   The band added the end 5/8 "forgive, forget" section which came together very quickly as a piece of music, although the lyrics weren't finished until the band started recording the album at Hook End in the summer of 1989.


The song quickly became a fan-favourite, and is probably the most regularly performed song of the Marillion set since 1989  Whilst on tour with How We Live in 1986, Steve and his band mates visited Giant’s Causeway.  I fell in love with the rock formations, the relief and the wildness of the coastline and the ferocity of the sea.”  The promo video for the song was shot there in early 1990.  I thought, if I ever get to make a video, I want to do it on the Giant’s Causeway, amongst the sea.  But I didn't think I'd ever get to do it my wildest dreams!”  Steve sums up his thoughts on the song: “I’m very proud of how it turned out. I’d written most of it before I joined the band, so I kind of expected the song to end up in the trash.  It was great to see it come to life, and for it to turn into one of our classics.


The Release



Released on the flip side of the ‘Easter’ single in 1990, I think that ‘The Release’ is one of the best songs Marillion have ever recorded.  The music for this track had been written by Marillion in 1988, and was demoed with Fish as “Tic Tac Toe.” (This can be heard on the 2CD re-issue of Clutching at Straws – well worth a listen.)  According to Mark Kelly, the music was used as one of the audition pieces for new vocalists after Fish left.


A few years earlier, Steve Hogarth had written a song called “At the End of the Day,” about “the power to burn away life's mundane frustrations. You know, it gets so hard when everything you are is everything you don't want to be...”   It was first rehearsed by How We Live on 27th July 1986 (according to keyboard player Raine Shine’s tour diary) and was used occasionally as an encore number.  As one of the legendary “bucket tapes”, the new Marillion set about marrying Steve’s words to the existing tune.  It was recorded at Hook End studios (with a working title of ‘End of the Day’) and put aside for future b-side use. Steve Hogarth has remarked how it bears “an uncanny resemblance” to Pink Floyd’s 1994 single “Take it Back.”

‘The Release’ was only played live in concert a handful of times in the early 90s.  It was brought out of retirement for the 2007 Marillion Convention and the subsequent ‘Somewhere Else’ tour.  There are great live versions on the Racket DVDs ‘Somewhere in London’, ‘This Strange Convention’ and the latest release ‘Out of Season.’



Holloway Girl 



Steve Hogarth was responsible for four complete lyrics during the ‘Seasons End’ sessions, namely ‘Bell in the Sea’, ‘Hooks in You’, After Me’ and ‘Holloway Girl’.  In an interview with ‘Metal Hammer’ magazine in 1989, Steve revealed that ‘Holloway Girl’ was a set of lyrics by me taken from a lot of thoughts I wrote down about a year ago.” So it is possible that some of these songs could have existed in some form before he joined Marillion.  He elaborated Years ago when I was part of 'The Europeans' we sometimes rehearsed around the corner from Holloway Women's Prison. I think prisons are fascinating places, like all alternative societies, and I used to stare up at the walls and watch the gate police. Years later I saw a documentary on TV. A camera crew had been allowed to film inside. A lot of tough girls for sure, but among them, there were women who should have been in mental hospitals - not prison. Victims of an 'underfunded' society which would lock up the desperate rather than tend to their troubled minds.  It has been suggested that the bassline for ‘Holloway Girl’ was lifted from the How We Live song ‘The Rainbow Room.’ They do have similar riffs, but I have never really thought it was a steal!


The Space 

The closing track on ‘Seasons End’ is a powerful and dreamy piece about the quiet pain and the quiet pleasure of loneliness, and the weight of responsibility for pain inflicted unintentionally.”  Steve has admitted that “many of the lyrics and melodies were stolen from previously unreleased ideas I'd had as far back as the Europeans. A few of you out there might hear distant bells ringing..."



One of the demos in the red bucket was an old Europeans live favourite called ‘So Far Away,’ the melodies of which were used in the verses of ‘The Space.’  Of the lyrics, Steve explains:  “Feeling fragile. I once saw an Amsterdam tram rip the side off a parked car which had been left too near the tramlines. It did so without slowing down. In terms of mass, the competition was so one-sided, like a ball-bearing and a feather, that I often wonder whether the tram driver noticed it happen. The damage was massive, inevitable, and casual. It's an enduring memory. I have occasionally been the tram. And I have often been the car.”  He elaborates: “I saw a tram rip the side off a parked car many years ago in Amsterdam, and I thought "People do that to each other, sometimes."  I was already beginning to feel lonely after the long periods writing and recording.  The paradox of the high-but-alienating life had already begun to unfold inside me.  I have been banging on about it for years now.  I still am!


The “Everybody in the Whole of the World...” end section of ‘The Space’ was taken from the chorus of a second unreleased Europeans song called "Wrap Me in the Flag.”  Another late Euros number, it was played occasionally by How We Live as an encore.  Instrumentally, The first half of 'The Space' and part of 'The Uninvited Guest' were written in Scotland in 1988 as a last-ditch attempt to work with Fish. In September that year, Steve Rothery played a half hour set at an Ibanez Music Seminar in Rotterdam that included a small guitar part that was later used in the track.’  According to keyboardist Mark Kelly, “the chord structures and atmospheres were already written by the band before h arrived.”

When ‘Seasons End’ was released in 1989, Steve forgot to make sure that the credits were included, so when we put the record out there was no mention of the Europeans.”  Co-writer Colin Woore claimed that he (and the Ferg & Geoff) deserved a credit for the track. Steve elaborates "I put my words and melody onto some chords that Mark had already written, but Colin said the chords were his chords and they were too precious too him to be released.”  Since 1994, the song’s writing credit has been amended to a mammoth “(Hogarth / Rothery / Kelly / Trewavas / Mosley / Woore / Dugmore / Harper).” 


In an interview with ‘The Web Holland’ in 2006, Steve admits that he was never really pleased with how the track finished up on the ‘Seasons End’ album: “We were running out of time in the studio when we were recording it. When we were writing it (we would get) to that middle section and say ‘That will be great; we will work it out when we’re recording it. That will be fine. We’ll do something orchestral and it will be fine. We don’t have to worry about it. And then when we got to it, I don’t think we spent enough time on it. To me, to this day, that whole part of The Space just sounds like we’ve tried to get from one part of the song to the other. For me it’s waiting on a bus. It is pompous and huge, but it was never developed to a point where it justifies itself. If we had just had a couple of days more to work on the middle section, it would have either ended up shorter or longer, but in every case better. It is good, but not quite what it could have been.”


Cover My Eyes (Pain and Heaven) 



The lead single from the 1991 Marillion album ‘Holidays in Eden’ was another successful song rescued from Steve’s bucket.  How We Live recorded two songs in 1986/7 for a potential single, namely “Simon’s Car” and “You Don’t Need Anyone.”  They were recorded by Gavin MacKillop, a friend of theirs from the early days of the Europeans (who later went on to produce the Rembrandts single used for the TV series ‘Friends.’)  ‘Simon’s Car’ was a song about the TV Series ‘The Saint’, in which Roger Moore played an agent by the name of Simon Templar.  Steve and Colin apparently hired an identical car from the show (a 60's Volvo classic) for a photo shoot when they were considering putting it out as a single.


‘Simon’s Car’ by How We Live was unreleased for many years.  It was included as a bonus track on the ‘Dry Land’ re-issue CD in 2000.  An extended 12” remix version was available for a limited time to download from the Marillion website. Colin Woore elaborates on the samples : "The 'mercy' is, I think, courtesy of Roy Orbison, 'All you gotta do' is Dusty Springfield ('more than Dusty's eyes'), 'big as a jumbo jet' from TV news or documentary, 'No, I don't think I'm a revolutionary artist' I think is Andy Warhol, and there's a couple of seconds of flute near the end of the song from 'Fool On The Hill' by The Beatles. We just brought some CDs and video tapes from home of anything that might be relevant to the 60's icons mentioned in the song.”  Apparently sixties actress Eleanor Bron inspired the original lyric idea.  Steve explains that lyricallyit is a fantasy about beautiful women - an intensity of beauty which intimidates and scares.  The examples are stolen from movies, art, literature, and pop videos.”


The writing sessions for the second Marillion album with Steve Hogarth, ‘Holidays in Eden’ started out very differently.  Much of the music for ‘Seasons End’ was written before Steve arrived, and the songs were pieced together fairly quickly.  The next sessions saw the band adjusting to each others’ creative processes.  Mark Kelly described Steve Hogarth’s approach as “someone who comes up with an idea for a song and will work on it night and day until he beats it into submission. It is only then that he will step back and look at his handiwork to ask the question, is it any good?”  Whilst the rest of the band were more into “navel gazing until we come up with what we think is a gem of an idea, polish it up and then stick it in a box for a while, afraid to play with it in case we ruin it and keen to see if we still like it when we get it out again later.”  This clash of styles even led to Steve choosing to go home for 10 days to recuperate.

‘Cover My Eyes’ was written late in the album process, whilst the band was rehearsing arrangements at Nomis Studios in London. “We salvaged it out of some bits we weren't going to use” recalls bassist Pete Trewavas.  Producer Chris Neil had been listening to a cassette of sketches and half unfinished ideas, and suggested marrying a couple of them together.  “He telephoned one night to say that if we were to arrange two of the ideas together, we would have another single, so we set about with glue and string!”  The two pieces were an echo-guitar driven jam, and the lyrics of the ‘Simon’s Car’ tune by How We Live.  Guitarist Steve Rothery suggested the anthemic chorus melody, which started out life as just "Hey", like at the beginning of the track.  Steve remembers “Chris Neil said that he needed words, and it was terribly difficult to write something that fitted.  After much hair-tearing, I came up with "Pain and Heaven" just before he mixed the song.” Chris Neil’s love of the verse/chorus structure resulted in the most commercial sounding Marillion album, that some of the band were unhappy with.  Mark likened it to "being in the studio with a Blue Peter presenter.  He always had one he'd prepared earlier."


Dry Land 



‘Dry Land’ is unique amongst these tracks, as it was already a fully formed song that was essentially ‘covered’ by Marillion in 1991.  Written by Colin Woore & Steve Hogarth in late 1984, it was demoed by Europeans under the title ‘You are an Island.’  It was distributed on a demo cassette to potential labels in 1985, to little interest.  Geoff Dugmore remembers playing ‘Dry Land’ at the last Euros concert at the Shaw Theatre in Euston.  It was chosen as the title track for Steve & Colin’s next project, How We Live.  Recorded at Crescent Studios in Bath in 1986, Colin has fond memories of the sessions: “I'll never forget the experience of standing in the studio with David Lord conducting the Allegri String Quartet, bringing the keyboard string arrangement I had written to life on the 'Dry Land' track.”


5 years later, it was producer Chris Neil who suggested Marillion use the track, believing it could be a huge hit!  Steve explains that Chris “heard it one day in 1990 by mistake (the only way any one got to hear a HWL Song...) and felt it would make a great album track for 'Holidays In Eden'. I played the song to the chaps down at Stanbridge Farm (Studios) and everyone in the band wanted to give it a try. When we sat down to play it, it felt completely natural and honest.  It's got a lovely chorus melody and I think that's what hooked Chris.  To this day, I'm amazed that he managed to persuade Marillion to cover it.”

Mark Kelly added "Chris wanted to do this song.  We were under pressure to have 3 singles and we had only two.  h wrote and recorded this one with his last band, we just covered it really.  I always liked the minor to major move into the chorus.”  The band recorded the song at Outside Studios (Hook End) almost exactly as it had been on the ‘Dry Land’ album.  The chorus lines are extended slightly in the Marillion version, and the guitar solo was re-written. “I enjoyed writing the solo for it” says Steve Rothery, “probably one of my favourite solos."  Colin Woore thought that it was “good, but I miss the real strings. Steve said in 1991 “I have to say that the Marillion version of it is something I'm slightly prouder of than the first version and I'm very surprised that I can say that because it’s so often the case that you can't beat an original... but I think we have done it.”

The band has played the track on and off through the years, although Steve confesses that "the choruses involve some serious vocal acrobatics and I have to be in good shape to pull off the high notes, so I rarely pluck up the courage to do it when we're touring."  It has made regular appearances in Steve’s ‘H Natural’ setlists.  Stripped down to just piano & voice, it really is a great song that showcases Steve’s voice.


This Town 



Steve: “This Town was written as an idea about a town tearing people apart.  Basically it's about two people who move to a big city in order to fulfil their dreams and ambitions, only to find when they get there that the process of doing that tears them apart.  The central character is now emotionally dead and becomes a snake and starts to use people.  He's the ultimate cynic!  There is the feeling that the city is seducing your lover away from you.. and being jealous of it... and knowing it will win.”

The lyrics to this song were from a How We Live track demoed by Steve and Colin a number of times in 1987/88 as ‘This Town’, "This Time" and "This Girl.”  During the writing sessions for ‘Holidays in Eden’ album at Stanbridge Farm Rehearsal Studio, Marillion married these words with a new tune.  An early work-in-progress version of the song appears on the DVD ‘From Stoke Row to Ipanema.’


You Don't Need Anyone 



Whilst writing new tracks for the second Hogarth album ‘Holidays in Eden’, this How We Live song was plucked from the bucket. Nick Gatfield (head of A&R at EMI at the time) had somehow heard it, and suggested that Marillion could make it a hit.  A demo version was recorded at Moles studio in Bath in late 1990, and the song was played at the Christmas fanclub shows in December.  It "fell by the wayside" and wasn’t included on the finished album, so for many years it was a true unreleased rarity.  A live version (recorded at Bath Moles Club) featured on a ‘Low Fat Yoghurts’ bootleg CD, and was later on ‘Front Row Club’ CD Issue 10.  The official Marillion demo version was finally made available on the ‘Holidays in Eden’ remaster 2CD.  At the time, Steve referred to the song as “a sort of How We Live track we didn't really record” and that he “never really finished the lyrics.”   So, it was a bit of a shock when a fully recorded version the song turned up on the 2000 re-issue of How We Live’s 'Dry Land' album!  The HWL original was recorded in 1986/7, as a b-side to ‘Simon’s Car.’  A 12” extended remix version was available for a short while via the Marillion Fan Club website.



Games in Germany 



"One of the best and most personal songs I ever wrote" says Steve Hogarth.  The Europeans worked on this song (then called 'Playing Games in Germany') in 1985 at 'John Henrys' studio in London.  It was recorded by How We Live, and is one of the strongest tracks on the ‘Dry Land’ album. A HWL press release explained that the song was “based on the exploits of one of Steve's best friends who was stationed (in Germany) in the army, and died tragically in the Middle East.”  It has been played a number of times at ‘h natural’ shows, and at the Paris show in 2007, Steve gave a little more background to the track: "I had a friend called Pugsly.  He was in the army and he used to come home on leave and visit me when I was working as an electrical design engineer, aged about 22.  He used to turn up at eight in the morning and take me to the seaside, when I should have been working!  And that song is about him.  He eventually ended up dead.  Don't let your children join the army.  They give them money then people shoot them!  It's not a good way to earn a living!


Steve Hogarth revealed recently that "John Arnison (Marillion’s then manager) wanted us to cover ‘Games in Germany.’  I suppose ‘Holidays in Eden’ as an album really was EMI's attempt to turn us into a mainstream band.  They almost pulled it off!"  Marillion did actually play the song in Dieburg, Germany on their 1998 ‘Radiation’ tour.  During the band’s epic song ‘This Strange Engine’, the band left a section in the middle free to improvise in.  Some nights Steve included lyrics to The Police’s ‘Spirits in the Material World’, only this night he sang excerpts from ‘Games in Germany.’  Thankfully it was recorded, and the show was the debut release of Marillion’s ‘Front Row Club’ live series:





Marillion’s 1994 ‘Brave’ was the first album to be written from scratch by the whole band.  Whilst working on songs in the early stages of the creative process, Steve Hogarth remembers that “the ideas took me back to a memory of an intriguing radio broadcast from the Bristol Police some years ago on GWR radio.  I was working at Crescent Studios in Bath, making an album with How We Live, and one particular morning the radio happened to be on in the studio office.  The police had picked up a young woman wandering on the Severn Bridge who refused or was unable to speak to them. In desperation the appeal was broadcast to the general public in an attempt to discover her identity. I heard this on the radio and thought it was a great first page to a mystery story. I was also concerned for her and wrote a few words of support which, of course she would never see or hear. I suppose it's as near as I come to saying a prayer.”  The finished album was a fictional story inspired by this incident, and had one working title of “Throwing a Severn,” in reference to the Bridge in Bristol, and the fact that it was Marillion’s 7th studio album.


Better Dreams 



This track from Steve’s 1997 album ‘Ice Cream Genius’ was an old lyric that he had since visiting America with the Europeans in 1983.  “I first started wanting to write a song about Los Angeles, about my impressions of the way that people function, and that feeling of being ‘in or out’ of the business. Also the lengths people go to in order to realise the big dream, and how they become victim to it whether or not they succeed.” He elaborates: “LA is a town which I didn't think I'd like, (but it) was fantastic and proved all my prejudices wrong. The USA is one of those countries where you can form an opinion from afar only to go there and realise how wrong you are.  Someone once said that everything good or bad that's ever been said about America is probably true. It's such a vast country, a true spectrum.”


Steve has described ‘Better Dreams’ as a ‘poem set to music’, and that for years he found it hard to join the lyrics with music.  There was no way I was gonna change even one line of it.”  “I tried to hang those words on Marillion jams and it never really happened.  Then I spent night after night with a little string machine on my own in a room just trying to feel the kind of music and chords those words belonged to.  One night about 2 in the morning, with headphones on at home, I came up with what became ‘Better Dreams’.  Almost on the fly, how all those chords move.  It was almost complete in one very slow uncertain faltering take.  I liked it so much it became a very difficult song to record, because I wanted to use the same vocal.  There was no timing on it, no sense of a beat or a rhythm

XTC guitarist Dave Gregory came up with a string arrangement and little bits of jangle-y guitar.  Steve continues: “Recording the rest of the song was very arduous and complicated because I refused point blank to re-record it.  I said to the producer Craig Leon, "This is it.  I just want you to make it better.  And I'm not going to change it."  So it was a bit of a tricky brief for him.  It was murder for the string players to try and pin those parts down ‘cos there was no tempo.  It involved lots of takes, to start at the beginning and try and end up at the end of each section.

‘Better Dreams’ has been played at most ‘h band’ shows, featuring cellist Stephanie Sobey-Jones.  It has also been a staple of the ‘h natural’ shows, where the piano and voice versions are stunning.


Nothing to Declare 



Steve wrote ‘Nothing to Declare’ back in 1988.  “In a different form, it was rejected by Marillion a long time ago.  It was in the bucket, but at that time it was very different, it was a piano/vocal thing. It changed a lot from that. But I returned to that because I'd always thought it was strong, there was a good feeling about that song." Whilst promoting his album in 1997, he elaborated: “I had (the song) when I met the boys in the Mushroom Farm when we were working on ‘Seasons End.’ I said ‘I’ve got this song. It’s about aeroplanes and about someone going away and not coming back. I kept playing it to them. It would have been on the album if the rest of the band had seen the potential of it. But for whatever reason they just couldn’t see it. I did a lot of work on it and put it on ‘Ice Cream Genius’. It’s Steve Rothery’s favourite song on the album. Well, I thought, you could have had it, but you didn’t want it!



“I think airports are romantic and tragic places. And the song really came out of all if that. I used to live very close to Heathrow Airport and I used to watch the jumbo jets climbing up over my house and I used to wonder where all the people were going.  I always thought they must be going somewhere warmer and more wonderful that England. England can be very drab on certain days.”

The original sketch of ‘Nothing to Declare’ was a simple piano-vocal idea.  Whilst on tour in Washington, Steve worked out an arrangement on a small pocket-sequencer.  A long time in the making, It almost didn’t make it.  He explains that he had got to the point where “I have been working on this for so long now, I actually don’t know whether it is any good or not. Maybe I just got to the point where I have done so much work on it, that it has become important, even though it is not very good. So you have all of that paranoia going on in your head and I had that with Nothing to Declare when I was arranging it. I kept thinking ‘Is it any good, or is it just something I want to do?’


Victoria Station 



A surprise inclusion on the first ‘h natural’ tour was this How We Live song that was never recorded.  Although Steve has described it as not the kind of song I would have persuaded Marillion to cover” it kind of fits here!  “It’s a song I've had kicking around for years.  It's time has come and gone really.  It was so much about Margaret Thatcher's* 'getting on your bike and going to find work.' It's about moving, and leaving everything you knew behind to go and find a job.  Toughing it out and pretending it's no big deal when it was actually tearing you apart.  It was a very 80s sort of song. It was very nearly recorded as a single with a producer called Paul Hardiman. I liked Paul and his approach!  We were going to go into the studio and record ‘Victoria Station’ and then Paul Russell (MD of Sony) pulled the plug on How We Live.”  Steve’s piano & vocal version of the song is available on his ‘h natural dvd’ and his recent ‘Natural Selection’ CD compilation.


* It was actually Norman Tebbit who said “on your bike!”


Other Songs 



A number of unreleased Europeans and How We Live songs are referred to elsewhere on this website, and there is every chance that some of them may have been in the bucket.  In the liner notes for the 2002 ‘h band’ 'Live Spirit : Live Body' album, Steve Hogarth suggested that the Euros tune ‘Acid Rain’ and an "unrecorded old How We Live song" called ‘Nothing to Hide’ could maybe go in the set, "if I can find the demo!"  The ‘h band’ played HWL song ‘India’ at shows in 2002.  Other unreleased Europeans tunes include ‘Emotional Warfare,’ ‘Breathless’, ‘Khmer Rouge’ and ‘Freedom.”  Unheard How We Live songs include Sunshine (In Your Eyes), Feels Like Saturday, In the Middle of the Night, Promises (aka We Don’t Need to be Lovers) and a rocker called Inbetween the Line’" which I would still like to record said Steve in 2000.



Web Magazine Winter 91 / 92 ‘Julia Simpson Interview for GWR’

Web Magazine Issue 1 - 94 ‘Song writing by Mark Kelly’

From Stoke Row to Ipanema DVD available at 

Metal Hammer Magazine: "Summer Season" by Mark Day, 18th September 1989

Marillion / Separated Out - The complete history 1979-2002 by Jon Collins p99

Sounds Magazine: "End of the Fishing Season" by Paul Elliott, October 14 1989

Classic Rock No 68: "Men for All Seasons" by Jerry Ewing, July 2004

Six Of One, Half a Dozen of Another – Liner Notes

Record Collector July 1992 (no. 155) by Linda La Ban

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Explanation of Song Elements

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Metal Hammer - Marillion Own Words... 1989

Steve Hogarth Speaks His Mind Interview by Martien Koolen

h on h# - The Web Holland 2006

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Rock Power : Marillion - Holidays in the Sun by Chris Marlowe

Kerrang 247 June 29 1991 Mick Wall "Two middle aged men in a Thai Restaurant"

Big Bang Magazine 1997 (Better Dreams)

AOL Live Chat with h September 18th, 1998 

Steve Hogarth myspace h natural interviews

Classic Rock May 2007: Jon Hotten "From Season's to Somewhere"

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Music Players

Music Reviewer

Marillion’s ‘Ask The Band’ Episode 5



Tim Glasswell – June 2010


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