Prog & Progeny

In this week’s episode, Mark and Tallulah continue through chapter 9, exploring the writing and recording of Misplaced Childhood in Berlin. They talk about the unexpected success of “Kayleigh,” the challenges of creating a concept album despite the record company’s doubts, and the many people who helped shape Marillion’s third record. Along the way, there are the usual discussions of pranks and silly drunken moments, balanced with a genuine look at what remains a pivotal point in Marillion’s career.

I originally wrote this piece as an intro for the song Twenty Fifty One on the Marathon album. I sent it over to my nephew Conal, who added guitar, bass, and a modern drum track—thanks, Conal!

As the song took shape, I realised this intro didn’t really fit, so it ended up gathering digital dust on a hard drive for a few years. Early this year, while hunting for a theme for this podcast, I stumbled across it again and decided to give it a new life. What you’ll hear now is an updated recording with some fresh parts added replacing most of the original recording but keeping Conal's picking guitar.

I know it’s not the proggiest theme for a podcast called Prog and Progeny, but I hope you enjoy it all the same.

In this episode Mark has a rambling conversation with Ian remembering his early days in Marillion and their time in Berlin recording Misplaced Childhood. 

This week, Mark and Tallulah are joined by Simon Hanhart, recording engineer on  the Script for a Jester’s Tear, Fugazi and Real to Reel albums.

Simon shares his memories of working with Marillion during a pivotal time in both his and their careers - covering the highs, the lows, and everything in between. From relentless studio exhaustion to gold discs and unexpected sound design tricks, this episode is a candid, nostalgic, and often hilarious look behind the scenes of Marillion's early recording adventures.

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Become a member and get some great extras including unreleased Mark Kelly music

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Buy Mark's Autobiography - Marillion, Misadventures and Marathons at

https://www.marillion.com/shop/merch/book06.htm

email your questions to us at [email protected]

This week, Mark and Tallulah are joined by Simon Hanhart, recording engineer on  the Script for a Jester’s Tear, Fugazi and Real to Reel albums.

Simon shares his memories of working with Marillion during a pivotal time in both his and their careers - covering the highs, the lows, and everything in between. From relentless studio exhaustion to gold discs and unexpected sound design tricks, this episode is a candid, nostalgic, and often hilarious look behind the scenes of Marillion's early recording adventures.

In this week’s episode, Mark and Tallulah discuss the short but notable tenure of drummer Jonathan Mover, the circumstances around his departure, and the arrival of Ian Mosley as his replacement. They also get into a few side stories, including a fire extinguisher prank gone wrong and some slightly obsessive behavior from Producer Nick. The conversation takes a few detours, including the differences between UK and American rock, the importance of band chemistry, and even Mark’s hair care routine.

In this week’s episode, Mark and Tallulah reflect on the writing of Marillion’s second album in Wales, and the pressure of creating new material on a tight deadline. They talk through the challenges that came with that process, both creatively and personally.

They also look back on the band’s first U.S. tour - Mark’s first time traveling abroad - including early encounters with American food, the potency of Long Island Iced Teas, and the start of drummer Andy’s fast decline.

In this week’s episode, Mark and Tallulah continue their look at the making of Marillion’s first album and the band’s growing momentum. They share stories about playing the Marquee Club under fake names - leading to an unexpected run-in with a German airline - and performing Garden Party on Top of the Pops. The conversation also touches on the difficult decision to part ways with drummer Mick and bring in Andy Ward from Camel. Finally, they discuss the often tricky subject of how money gets divided in bands, and what fairness really means in that context.

A quick note: We’re now moving all subscriptions over to Patreon. Tune in to hear what new benefits come with the switch, and how you can make the move if you’re already one of our subscribers. Cheers!

Become a member and get some great extras including unreleased Mark Kelly music

https://www.patreon.com/c/progandprogeny/membership

Buy Mark's Autobiography - Marillion, Misadventures and Marathons at

https://www.marillion.com/shop/merch/book06.htm

email your questions to us at [email protected]

This week Mark and Tallulah talk about managers — the good, the bad, and everything in between. They introduce John Arnison and reflect on Marillion’s first record deal with EMI, discussing what it was like to sign for the first time and the process of putting together their debut single.

Mark also shares what it was like to start a family young, and how that overlapped with the early days of the band — and the pressure that came with trying to navigate both.

Become a member and get some great extras including unreleased Mark Kelly music

https://www.patreon.com/c/progandprogeny/membership

Buy Mark's Autobiography - Marillion, Misadventures and Marathons at

https://www.marillion.com/shop/merch/book06.htm

email your questions to us at [email protected]

In this episode we answer some more of your questions

Become a member and get some great extras including unreleased Mark Kelly music

https://www.patreon.com/c/progandprogeny/membership

Buy Mark's Autobiography - Marillion, Misadventures and Marathons at

https://www.marillion.com/shop/merch/book06.htm

email your questions to us at [email protected]