The Red Bucket Tapes
Europeans & How
We Live ideas as used by Marillion & h
|
|
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. |
|
Easter
|
|
|
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 lyrically “it 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: http://www.marillion.com/music/frc/001.htm |
|
Brave |
|
|
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.” |
|
|
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. |
|
Bibliography |
||||
|
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 http://www.marillion.com/music/dvd/stokerow.htm 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 Steve Rothery
Postcards from the Road Explanation of Song Elements http://marillion.baldyslaphead.co.uk/albums/Seasons/easter.htm The Web UK Magazine Autumn
2006 ‘Well Seasoned’ Web Magazine
Winter 89/90 ‘Filming of the Easter Video by Paul Lewis.’ Metal Hammer
- Marillion Own Words... 1989 Steve Hogarth Speaks His Mind Interview by Martien Koolen http://www.dprp.net/specials/2006_hogarth/ h on h# -
The Web Holland 2006 The Web UK Magazine
September 2007 "Memories of Eden" 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" Marillion – Anorak’s
Site http://www.marillion-anoraks.com/ Marillion -
Brave Tour Programme Music Players http://www.musicplayers.com/features/vocals/2007/0407_Steve_Hogarth.php Music Reviewer http://www.music-reviewer.com/Interviews/October-2002/Steve-Hogarth-(Marillion)/ Marillion’s ‘Ask The Band’ Episode 5 |
||||
|
Tim Glasswell – June 2010 |
Back to Articles