This is the audio version which includes Mark reading Chapter 11 of his autobiography.

In this week’s episode, Mark and Tallulah work through a turbulent chapter as the band edges toward breaking point. Steve is driving most of the ideas for the next album while Mark struggles with writer’s block. Behind the scenes, the crew is kept on payroll without work, John pushes EMI for more money, and drugs and late nights creep back into the picture.

They discuss the growing divide as Fish drifts further from the band. As well as stories of injuries, excess, and surreal moments — from a dislocated shoulder and an ill-advised birthday stripper to gigs in Poland, a lightning strike in Italy, and meeting Prince Edward with Iron Maiden’s Nicko. Amid missed family time, mounting debts, and choices that would ultimately bring a big change to Marillion.

In this week’s episode, Mark and Tallulah work through a turbulent chapter as the band edges toward breaking point. Steve is driving most of the ideas for the next album while Mark struggles with writer’s block. Behind the scenes, the crew is kept on payroll without work, John pushes EMI for more money, and drugs and late nights creep back into the picture.

They discuss the growing divide as Fish drifts further from the band. As well as stories of injuries, excess, and surreal moments — from a dislocated shoulder and an ill-advised birthday stripper to gigs in Poland, a lightning strike in Italy, and meeting Prince Edward with Iron Maiden’s Nicko. Amid missed family time, mounting debts, and choices that would ultimately bring a big change to Marillion.

In this episode, Mark and Tallulah talk about the chaos of oversold venues in the manager's pursuit of profit, and surreal tour moments - from playing in Japan to the crew starting fires on planes.

They delve into Marillion’s time playing with both Rush and Queen, including a bizarre party at Kensington Roof Gardens. Beyond the fun and surreal moments, Mark reflects on the harder realities: financial strain, increasing reliance on EMI, personal doubts, and the rifts that marked the beginning of the end of Marillion with Fish

In this episode, Mark and Tallulah talk about the chaos of oversold venues in the manager's pursuit of profit, and surreal tour moments - from playing in Japan to the crew starting fires on planes.

They delve into Marillion’s time playing with both Rush and Queen, including a bizarre party at Kensington Roof Gardens. Beyond the fun and surreal moments, Mark reflects on the harder realities: financial strain, increasing reliance on EMI, personal doubts, and the rifts that marked the beginning of the end of Marillion with Fish.

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.