Steve Hogarth: Here There and Everywhere
WHO IS THIS GUY?
The late eighties were, as I’ve most likely said elsewhere, a time of discovery. Now in the age of Wiki we can look up anyone of interest and know all about them in moments but back then it was all detective work, piecing together fragments of information.
For those of us music junkies or audiophiles who took time to read the sleeve notes, certain names appeared. I can’t remember which one went first, it could have been The The, it could have been Do-Re-Mi and it could have been Toni Childs but the name Steve Hogarth kept coming up. Who is this guy? I thought to myself.
Like all great scientific discoveries a chance occurrence in another quarter of the music universe would lead to a cosmic collision. Fish had quit Marillion and Top of the Pops were showcasing their new single and singer with Hooks in You. And who should their new frontman turn out to be? None other than one Steve Hogarth. At the time I thought it was a piss poor Incommunicado but at least this mysterious name now had a face.
MINING THE DRY LAND
I didn’t know about How We Live who were originally christened Jump the Gun, and re-christened prior to recording (good call Steve). The finished album was highly visible on the rounds of record stores I frequented. Better still the drummer is Manny Elias from Tears for Fears!
But I was aware of Europeans courtesy of the Album Cover Album books who used their supposedly controversial image for The Animal Song with the band wearing leotards. ‘Leotards’ said Boy George, ‘You’ll never get anywhere wearing leotards.’ And as fate would have it, he was right. More on the Euros in a mo but first to the HOW WE LIVE album as heard on You Tube.
Working Girl is rather lovely – it’s another song that could have fronted a Shelley Long movie – but it’s also drenched in that 80s saccharine production as is the whole album; cue smoky fretless bass and sequencers to the max. All the Time in the World is in keeping with Europeans and I could imagine their third album sounding like this. Great solo from Colin Woore but shitty period backing vox and sax.
The third track is… Dry Land which gets its premiere here (this is the first time I’ve heard this version and yes Marillion’s take easily eclipses it, see Eden below). Games in Germany, another single, is a rocky ballad. ‘Girl from’ India (not the Roxy Music song of the same name) casts itself into the beguiling ballad mould.
A Beat in the Heart (of the city) is period pop, but nice. H goes nuts towards the end and so does the sax. Simon’s Car, not on the actual album has lyrics that would live to see another day as Cover My Eyes). Likewise, English Summer is one of my faves but I believe only a demo that never made the album and this trait would continue with Marillion (Winter Trees, Icon). Now lets venture into Euroland…
Somewhere in the stream of rapid exploration came a chance meeting with the Hogarth fronted Acid Rain. I can’t remember whose radio show it appeared on, possibly Annie Nightingale but it awakened the senses nicely to the extent I sought it out on one of my record buying visits to Bristol. So I ended up paying for what was originally a free single.
TAKING A BAFF
The B-Side was a montage of three album tracks, the best of which was and is Burning Inside You. The chorus of which is ‘I’m holding your hand, I’m holding your heart’ now the hand I can understand but why in christ name would you be holding someone’s heart!
One could parody it thus, ‘Why are you holding that heart? Isn’t it a bit messy, and life threat-en-ing.’ But laughs aside it’s a great sounding track and one I play often. *The above link is a solo piano version by H.
What a pity Simple Minds Sparkle in the Rain didn’t sound like that. Even better, it was – like HOW WE LIVE – produced by David Lord (Gabriel4, XTC’s Big Express, and ICEHOUSE – half of Measure for Measure and all of Man of Colours). Seeing the shorter cropped ‘new wave’ Hogarth is a shock for those familiar with his regular Marillion look; more cover his ears than eyes.
The How We Live album (called Dry Land) would have been recorded around the same time as either of the aforementioned ICEHOUSE records and I wondered if Hogarth and Iva Davies had met but alas no response to my query. I do know (from his podcast) that H met with Peter Gabriel, it being Bath (or Baff as Steve H pronounces it in his Cumbrian English accent).
ESCAPING TO EDEN
The first Hogarth Marillion album Seasons End wrapped up the eighties (produced by future Genesis producer Nick Davis) and Holidays in Eden followed in ’91 with beautiful artwork by Sarah Ball (the original hangs in Hogarth’s home or the House of Hogarth if you prefer).
Along with many other artists the cover is decimated for the American release. Though the very English artwork of The Moody Blues Long Distance Voyager was strangely left untouched for the US release. I wonder how they managed that; maybe a contractual thing. Cutting Crew’s Broadcast is another that comes to mind with UK and US releases differing greatly in appearance.
And if that seems a tenuous link, note that ten years later on Anaroknophobia is Map of the World; a co-write between Hogarth and Cutting Crew frontman Nick Van Eede. See I don’t just piece this thing together you know.
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Returning to Eden, Cover My Eyes is a reasonable single, No One Can is a nice song but musically mediocre. It does however have a nice video with Hogarth at the airport, but Dry Land bathes the listener in a dusky afterglow, and the CD single was consequently snapped up on release. This time the blue of the Eden cover is reduced to a slender band along the bottom and the rest is a soothing pale green.
I recall it getting short shrift on the radio’s pop panel but it managed a respectable 34 in early autumn (1991). Marillion seemed to own this position, no less than three of their singles came to rest at 34 (Easter and Cover My Eyes being the other two for anoraks here 😉
Though the band were a little iffy on Christopher Neil producing them he was reliable as always though it might have been a bit too poppy for some of the bands fanbase. Splintering Heart and The Party remain two of my favourite Marillion tracks. The title track isn’t bad either.
Feeling a bit flippant, I put it to H on his website guestbook that the ‘backroom’ the girl finds herself in with strange aromas and candles could just be an H Natural gig but again got no response. Not that I blame him, who has time to read or respond to the comments?
PUTTING ON A BRAVE FACE
While playing Sylvian/Fripp’s Damage (the song) to someone at university in 1994 they inform me of its similarity to Brave. It would be many years before I hear the album but Carl Glover’s cover image of handwritten text scrawled along a blurred face sticks in my mind (being that I was studying design with the intention of being an album cover designer – the new fangled internet and the hands of fate ensured that would never happen – or hasn’t to date).
I should mention here that the sleeve has similarities to Swiss artist Stephan Eicher’s 1989 release My Place (which I again saw in the Album Cover Album books of yesteryear).
Further still Brave centres on the story of a wandering women on the Severn Bridge, a familiar sight to me being from South Wales. From Brave I’ve chosen Alone Again in the Lap of Luxury (which H says on his podcast was a struggle) as being a fine highlight of his vocal. I bet Peter Gabriel was spewing! Hogarth also mentions Cardiff in his diary thus: 22 Feb St David’s Hall, ‘soundcheck was hell, but the show was ok.’
Later on the same tour Hogarth muses on three sunny days in Paris (28-30 April). Note that while I stayed at the IBIS, H (and band) stayed in the Holiday Inn! So much for rock and roll eh? Playing the legendary Le Cigale theatre he chats with a record company friend about music in the Montmartre sunshine. He continues ‘the street life is colourful, rich with bohemians, dark mysterious Algerians and street kids.’
‘Lap of Lux’ meanwhile is a commercial failure. H says in hindsight its tempo is too slow but he thought the chorus was good. I agree on the chorus but the verse sounds like a three way between Neil Young’s Heart of Gold, and Whitesnake’s Is This Love giving Tony Banks a sonic hug. In keeping with a liking for their bonus tracks I take to Winter Trees, although it sounds more like a jumbo jet over winter trees to me.
An invisible controversy surrounds the imagery for Afraid of Sunlight, released a mere year later. Not least the artwork. The ‘day-glo’ Jesus was suggested but Hogarth was gunned down by the other members over a fear it would make Marillion seem like a Christian act.
So the child with angel wings was selected instead which to me still seems as religious as the image of Christ (now restored as the front cover it should have been in the first place).
The album opens with Gazpacho, and you’ve really got to admire an act that creates the most elegant sounding spring-fresh Englishness to a story about the downfall of OJ Simpson in California and then names it after a Spanish dish! However it’s the etherial Icon (yet another extra track) that really engages me. A six minute slow burner with semi-audible lyrics…
Even if the good old days were good
Even if the old days were golden days
Even if the good old days were good
The past is a terrible place
The past is a terrible place to live
The Afraid of Sunrise/Sunlight songs hinge the album together in the way that the two Cycles poems do in my first book A Lyrical Oasis released in 1997 (no direct influence by Marillion or Hogarth) while Beautiful is similar in subject to my Something Shines (part of Symposium of Empty Envelopes and the upcoming Dating the Page compilations).
Interestingly from the sleeve notes by James Levey it was snowing heavily as Steve H sang about American deserts, which reminded me that the Human League recorded DARE in the summer and released it in the depths of winter! Vice versa for Crash, anyway back to planet H.
NOTHING TO DECLARE
Back in 1997 I note the release of Ice Cream Genius as it guests Richard Barbieri and also Steve Jansen credited with additional genius in Newport’s Diverse Music (then on Upper Dock Street). The album though is a bit in two worlds, most of it is in the English Radiohead/Talk Talk genealogy and those pieces are a kind of precursor to the later work with Barbieri.
It’s unfortunate then that Tim Friese-Green wasn’t chosen as producer as to my mind he would have suited Hogarth much better than Craig Leon. Dinosaur Thing and Until You Fall however are trashy rock songs – out of place in my opinion.
Really Like is quite cool and the other one of note is the closing Nothing to Declare, lyrically speaking recalling Chris DeBurgh’s Crying and Laughing.
A hundred thousand hearts a day
Are vacuumed in along these runways
In specks of iron from around the world
Drawn to the magnetism in this place
I’ve watched them land in the Heathrow haze
Through ‘Nothing to Declare’ into cars that speed away
I understand how you had to leave
You said ‘back soon’ and I must believe
My feelings haven’t changed since that fateful day
You left me grounded and you flew away
Over my house into the clouds
To foreign lands in the sunshine
Ice Cream Genius was inadvertently titled by Leon – known for his work with Blondie who called any track he liked ‘ice cream genius’ and those he didn’t ‘torture’. Hogarth joked he should have called the album Torture.
Corona Diaries guest Dave Gregory recalls meeting Hogarth at the Eagle and Child pub in Oxford (I’m not much of a pub person but even I have been there). It was Gregory’s connection with Leon that got him the gig.
This in turn led to Blondie’s Clem Burke being invited to fill the drum slot (Hogarth had considered Andy Newmark). Richard Barbieri was name checked for keyboards and interestingly Hogarth spoke of a JBK gig at the Astoria in London (where I saw Porcupine Tree) and made the same observation about the late Mick Karn as me. How the hell did he play fretless bass without so much as looking at what he’s playing!? I noted this from the Oil on Canvas video many moons ago.
So the fantasy album with Andy Newmark on drums and Friese-Green producing will most likely remain so as Hogarth mentioned just doing an ICG date in the future would be logistically difficult. As jovial as ever he also joked making ICG was a white knuckle ride. So back to 1997.
ELEGY FOR ESTONIA
The same year sees Marillion’s This Strange Engine (if nothing else Hogarth was not shy of work). Barbieri himself went on to Steven Wilson’s Porcupine Tree and recorded albums with Tim Bowness and eventually Steve Hogarth, more on the latter later.
Engine has a great cover with typography more akin to the late Vaughan Oliver, but Marillion are not a 4AD band and on the self produced TSE they are more folky rock (Man of a Thousand Faces) than brooding merchants of doom or ethereal (though the aforementioned Icon comes close).
The dreamlike Estonia is based on a horrific true story recounted to Hogarth by a survivor of the stricken vessel on a (thankfully less stricken) plane. Nice guitar riff by Steve R on this one.
ALBUM COVER ALBUM
The album covers continued to arouse interest: Radiation, and marillion.com (the latter in part co-procuced by Steven Wilson) to name two. To me Marillion are a kind of English RUSH in that both are maligned by critics but adored by their respective fanbases.
RUSH album covers also got better with age (Test for Echo, Clockwork Angels). Radiation continues on from TSE in that its indie/folky rock save for the bluesy Born To Run. And speaking of the Canadian connection Radiation received a remix in 2013 in a similar fashion to their Vapour Trails (hence the two versions).
The prolificacy continues as we reach the climax of another decade (I can remember the end of the seventies). Twenty years later and the band begin to embrace the internet hence the title marillion.com and it’s not bad.
Go (with an exclamation mark) is very good, another mid-paced song similar to Lap of Lux, and Hogarth’s harmonies that guide the song to its conclusion ‘wide awake on the edge of the world’ are a nice touch. There’s a feint air of the sixties on Deserve. Marillion does Motown, and one of their rarities that features a sax!
By the same token it’s equally late nineties and that nameless micro movement I mention in the ENO blog that the Passengers album may have kick started (same with the Radiation album). Tumble Down the Years is kind of Crowded House-ish. Not too surprising when you consider both Steve H and R are fans of the mighty Finn.
But it wouldn’t be a Marillion album without ridiculously long tracks and these come on the final two; Interior Lulu – love the title – at 15 mins and House at 10mins. I kind of wish Interior Lulu just stayed as it was prior to cruising into prog-land though I do like the dreamy part about looking down on the city (London) from Primrose Hill.
The production however is very good especially with the rhythm section. House featuring Neil Yates jazzy trumpet is very nice and nothing that you might expect from a band considered purely prog. By the way did I mention Ian Mosley is possibly the most underrated drummer on the British isles? Some fantastic playing from him on this track alone.
Anoraknophobia is unique not just for its material, but its emoticon styled artwork (again by Carl Glover) and presenting the bands likes and dislikes, notably Hogarth’s allergy to cats. Strange that he would later come up with a song called A Cat with Seven Souls (with Richard Barbieri).
A change of decade presents a creative crossroads for many artists, and the band chose to visit new terrain in their work like Del Amitri on 2002’s Can You Do Me Good? And RUSH a decade or so earlier with Roll the Bones by including a rap in its title track, something employed here on Quartz.
Between You and Me is a reasonable rocker to open things and it sounds good live too with H strutting around the stage in a fully zipped leather jacket looking very much the rock star. This is the 21st Century shows they’re not stuck in time either, trip hop no less!
Meanwhile, the name Hogarth reveals itself in many locations over time. Hogarth Road resides in Earls Court and in Croydon I spot Hogarth Crescent. Further up the nomadic track in 2003, an ill fated attempt at a move to Holland results in a music festival on a beach by the North Sea.
A band called REBEL comes on stage with their faithful version of Cover My Eyes. I can’t see the singer at first but soon find it’s a woman with long wavy blonde hair. Her Steve Hogarth is really rather impressive! Especially on the ‘hey-ee-ay-hey-ee-ay-hey-aa-yea’ bits. Marillion too would continue in my line of vision.
The album Marbles is highly praised but neither it or its predecessor Anoraknophobia chart in the UK because of pathetic chart rules like the bizarre ‘includes a sticker.’ Paradoxically the single You’re Gone achieves a Hogarth high of #7! A simultaneous low high!
The geographic signposts continue on The Invisible Man which mentions sheltering in the doorways of Venice, Vienna, Budapest, Krakow and Amsterdam. The highlights for me are the first portion of the title track, Fantastic Place and Ocean Cloud which clocks in two seconds shy of 18 minutes!
THE JOY OF TRAVEL
Somewhere Else (2007) and Happiness is the Road (released the following year) again hint at a love of travel (see also Nothing to Declare lyrics above and Montreal below). Happiness has oodles of imagery, too much to include here. On his ‘Corona Diaries’ podcast in 2020 Hogarth says that the jumbo jets near his former home were sometimes so low they could seemingly take off the chimney’s!
He also spoke of the more romantic nature of flight and not knowing where the Boeing was going, clearly no-one has introduced him to Flight Radar 24. Hogarth also speaks highly of Ireland, Rome and Toulouse – perhaps I should have spent more time there than jumping on a train for another costly bout of geographic misfortune in Andorra (my bad).
But I jest, not only is he a traveller but also a well rounded individual who has had his own share of near misses with mortality while on the road. Further still his ideology of nations being merely a line is very similar to my own viewpoint. We might be proud of our parts or corners of the planet but we are all part of the same planet regardless of nationalities or borders.
Which got me onto thinking, where do countries come from, which one was first and why do we have them? I suppose it would be difficult to have a World Cup and an Olympics otherwise.
He’s also very charitable with his time (I’ve not met him myself but this is how he comes across). Not many artists thank their fans directly on album covers or by way of the ‘croon-cast’ where Hogarth says thanks to those supporting him while playing the piano. A unique and kind soul, at the same time I can see why the dog might hide under the table (see above photo).
So to the album and EP with Richard Barbieri, the first of which Not the Weapon But the Hand appeared in February 2012. The pair didn’t work together in the studio so much as sent files between each other.
Corona Diaries (Episode 34) states they first met around the time of Ice Cream Genius, and bonded on the tour bus. This came about after Steven Wilson had played Barbieri Afraid of Sunlight and he loved the lyrics. Steve’s vocal approach on Not the Weapon was not to smother Barbieri’s spatial synths.
Let’s delve a touch deeper. First up is Red Kite, another dreamy English number about a red kite (as in the bird) Hogarth saw near Oxford and one of two songs stretching over the seven minute mark. There’s some nice backward guitar treatments (Dave Gregory again) however I’d get rid of the drums in favour of some subtle percussion.
Even as far back as the early JAPAN records Barbieri was making lengthy recordings (The Tenant, Gentlemen Take Polaroids, Sons of Pioneers), as part of Rain Tree Crow (Big Wheels in Shanty Town) with Steve Jansen (Stone to Flesh), not forgetting Indigo Falls (with wife Suzanne) and then onto Porcupine Tree so the two are not an unlikely couple musically speaking.
Barbieri seems to work better when he’s part of a duo or band. This ranks up there with Flame – his album with Tim Bowness. Having said that so do Jansen and Mick Karn. Back to the weapon of the hand and track two.
So we go from a Red Kite to a Cat with Seven Souls, no wonder that bird is staying in the sky. Hogarth’s narration on this is similar to It’s Immaterial’s Jon Campbell on Song or the recent House for Sale. The cat is in fact Hogarth (I’m a cat with too much cream, I’m a cat with a hat full of dreams) so does this mean he is allergic to himself?
The track is rather moody and impeccably produced, the drums sound like drums even when, in this case, it’s a drum machine! At least there is no mention of a drummer on Track 2 according to the album credits.
IN A NAKED LIGHT
Naked is one of my faves, almost like a jazzy Paul Buchanan set against the kind of thought provoking mood I like, similar in tone to Stina Nordenstam’s Crime and Murder in Mairyland Park. Lifting the Lid also lies in this dream theatre of sound, perhaps a touch more dusky but very nice.
Crack is one that doesn’t grab me as much as the others do. More moody than dreamy with vocal distortion but this is not the place for Achtung Hogarth. Your Beautiful Face is more subdued, wintry pretty but interrupts the flow or mood cast by the rest of the album. It ends with a whisper and Only Love Will Make You Free, the longest of all eight tracks, begins with one.
In its midst, Hogarth says ‘F**k everybody and run’ prophesying the Marillion album of the same name by four years. For me this piece is too long (8mins) and it could have done with a radio version or an edit of some sort. Also noticeable is the vocal sounds nothing like Steve Hogarth, at least I wouldn’t have guessed it was him.
The title track was used as music on Richard Barbieri’s website for some time and I really like its overcast intimacy reprising some of the lyrics from Your Beautiful Face. Overall this is what Ice Cream Genius could have been, not that ICG is bad but a touch disjointed.
Appearing at the end of the following year came the Arclight EP, the title song armoured with the words Hogarth wants at his funeral. The best track for me comes at the end in the form of dreamy Elaine. A new album is not unlikely but could happen over time, Hogarth says they have half a leg in. Unfortunately the episode was shorter than normal but at least featured Barbieri himself.
THE BEGUILING AND POLITICAL NATURE OF GEO-SOUND
There are album entrances and there are album entrances and for that Gaza is pretty spectacular! A sprawling 17 minute tome of a tune to those suffering in the occupied territory born out of an Arabic sounding jamming session. ‘One day someone will help us’ says the lyric.
Montreal on the other hand (more or less H’s diary in song form) is a charming travelogue. Unfortunately this nomad has yet to visit Canada but I look forward to the day when my own world worn body is welcomed to Montreal. Maybe I’ll get to see the maples in autumn.
From the title you might assume The Sky Above the Rain is another ode to flying and travel, however its true subject is that of a relationship gone awry. All three are over 10 minutes long and amount to just over 40 minutes of music!
At the time of Anoraknophopbia, DJ Stuart Maconie writing for the now defunct Q magazine stated: “Clearly Marillion can play. If only they wouldn’t play so much of it.” Something I don’t necessarily disagree with, and that’s especially prevalent on Sounds That Can’t Be Made.
I happen to subscribe to no-man singer Tim Bowness ideology that most albums deemed classic tend to fit in the 37-42 minute mark. Jansen/Barbieri’s Stories Across Borders is a modest success at 34mins. In the nineties some CD singles were longer than that due to the amount of remixes they carried. The long and short of all this is… less is definitely more.
Sounds was produced by the band with Michael Hunter (who also remixed Radiation the following year) while Simon Ward handled the cover art. Together with ‘Not the Weapon’ 2012 was a very good for H in the same way 1994 was a good year for Bowness (Flowermouth/Flame) Barbieri being the common denominator.
A MAP OF THE MIND
In 2015 Steve played in Gibraltar where he got to stay at the Rock Hotel (something I could only gaze at from the adjacent road and park) and likens playing inside St Michael’s Cave as like doing a gig from prog-rock illustrator Roger Dean’s mind!
The list of cover versions is interesting, one is Neil Finn’s Message to My Girl which I can definitely hear Steve H doing. 2016’s F.E.A.R on the other hand is Prog with a capital P, lots of songs belonging to others eg El Dorado spread over 5 tracks, The Leavers (which I quite like) another five and The New Kings across four.
The cover though is utterly abysmal BUT having said that designing for music is probably one of the hardest things to achieve. How does one image represent an entire album with songs in many moods and colours?
ACADEMIC ADVENTURES, SONIC SOJOURNS
In recent years Hogarth has continued his extra-curricular duties to form new and diverse musical partnerships with Swedish ensemble Isildurs Bane with cute cover art by Matti Engdahl, and Italian prog act RanestRane.
It could be said that H is an academic of sound. There are plenty of musicians with honorary degrees and don’t see why one has not yet been awarded to him, not just a musician for over 35 years but a bloody good human being. This may seem oddly obsequious for someone I don’t know and am only a moderate fan of but credit where it’s due.
Inevitably while watching You Tube, a video presented itself on why Fish had quit and it seems that, in his words, ‘Marillion got too big’ and were being taken advantage of financially by the mechanics of big acts and bigger business.
He also took aim at the after show sycophants who appear for photos and nibbles. It would be interesting to hear Hogarth’s take on this, how does he cope with the brown nose brigade? Does he merely accept it or take it in his stride?
I’m aware this blog probably asks more questions than it answers however to round off here, for some time I’ve pondered what Hogarth’s fascination for things that ‘can’t be’ or ‘not found’ stems from. Part of that was answered on episode 45 of The Corona Diaries and strangely speaking of cosmic collisions…
The colours not found in nature title (like Ice Cream Genius) refers to an ex-manager who took a distrust to Taramasalata’s unusual pink colouration. A colour that could not possibly be found naturally. The same episode’s croon cast plays out with… the main keyboard refrain of Sounds That Can’t Be Made, ‘ain’t that perfect symmetry’ indeed.
PLAYLIST AND CREDITS
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Heartland (from Infected) – The The
New Taboos (from Domestic Harmony) – Do-Re-Mi
Don’t Walk Away (Extended Mix) – Toni Childs
Acid Rain (from Recurring Dreams) – Europeans
Burning Inside You (from Recurring Dreams) – Europeans
Working Girl (from Dry Land) How We Live
Hooks in You (from Seasons End) – Marillion
Dry Land (from Holidays in Eden) – Marillion
The Party (from Holidays in Eden) – Marillion
Splintering Heart (from Holidays in Eden) – Marillion
Damage (from Damage) – Sylvian/Fripp
Bridge (from Brave) – Marillion
Alone Again in the Lap of Luxury (from Brave) – Marillion
Icon (from Afraid of Sunlight deluxe) – Marillion
Cloud #9 (from Heartbeat) – Ryuichi Sakamoto ft David Sylvian and Ingrid Chavez
Feel (from Flame) – Richard Barbieri/Tim Bowness
Really Like (from Ice Cream Genius) – Steve Hogarth
Nothing to Declare (from Ice Cream Genius) – Steve Hogarth
Estonia (from This Strange Engine) – Marillion
Go! (from marillion.com) – Marillion
House (from marillion.com) – Marillion
This is the 21st Century (from Anoraknophobia) – Marillion
The Invisible Man (from Marbles) – Marillion
Marbles i (from Marbles) – Marillion
Fantastic Place (from Marbles) – Marillion
Ocean Cloud (from Marbles) – Marillion
You’re Gone (from Marbles) – Marillion
A Voice from the Past (from Somewhere Else) – Marillion
The Last Century for Man (from Somewhere Else) – Marillion
Woke Up (from Happiness is the Road) – Marillion
A State of Mind (from Happiness is the Road) – Marillion
The Man from the Planet Marzipan (from Happiness is the Road) – Marillion
Older Than Me (from Happiness is the Road) – Marillion
Red Kite (from Not the Weapon But the Hand) – Steve Hogarth + Richard Barbieri
Naked (from Not the Weapon But the Hand) – Steve Hogarth + Richard Barbieri
Crime (from And She Closed Her Eyes) – Stina Nordenstam
Lifting the Lid (from Not the Weapon But the Hand) – Steve Hogarth + Richard Barbieri
Elaine (from Arc Light) – Steve Hogarth + Richard Barbieri
Gaza (from Sounds That Can’t Be Made) – Marillion
Montreal (from Sounds That Can’t Be Made) – Marillion
The Sky Above the Rain (from Sounds That Can’t Be Made) – Marillion
Born to Run (Radiation 2013) – Marillion
The Love and the Affair (from Colours Not Found in Nature) – Isildurs Bane and Steve Hogarth
The Man with the Child in His Eyes (from Friends, Romans) – Steve Hogarth
Instant Karma (from Friends, Romans) – Steve Hogarth
Sounds That Can’t Be Made (from Sounds That Can’t Be Made) – Marillion
Photo Credits: Album covers from discogs.com, Steve H Corona Diaries and Oxford images from stevehogarth.com Gibraltar shots unknown photographer, if you are that person get in touch and I will duly credit you.