Rothery, Steve; Ian Mosley, Pete Trewavas (Marillion) (June 2001)

Please Leave Your Anorak In The Marillion Cloakroom

I couldn't believe I had agreed with the record company executive's proposition! Because singer Steve Hogarth wanted to save his voice for the gig Saturday night at the new Heineken Music Hall venue in Amsterdam, Holland, all the interviews were scheduled for Friday afternoon at the Holiday Inn Amsterdam where Marillion was staying. As I had to wait for a confirmation by e-mail, I had time to think and re-think, because, after all, there was no way one would drive a mere 500 km only to be able to share some views with the band for 45 minutes, especially if they would perform the day after with none other than Porcupine Tree as support! When the confirmation didn't arrive on Wednesday, not on Thursday and, to my dismay, still not on Friday, the day of the actual interview, I rang EMI HQ in Holland only to find out they were on holiday until the next week! So what do you do in circumstances like this? The only information I had was that the band was staying at the Holiday Inn in Amsterdam and that the boys would be waiting for my arrival at 4:30 p.m. on Friday. I decided to call the hotel's reception and ask for Lucy Jordache, Marillion's PR lady. "I'm afraid there's no one staying here with that name, sir," said a friendly voice. Damn! Before I could even blink my eye I asked the girl to put me through to Steve Rothery... and she did! To my surprise Steve picked up the phone almost immediately and to an even bigger surprise still knew who the hell I was! Of course, from then on things went as smoothly as a sailing boat on a calm sea. So, in a matter of seconds, it was decided I would come to Amsterdam the day of the gig, meet Steve R. for a lengthy interview regarding the new album, and who knows, talk to some of the other members as well. Now how about that for an effective service?

On Saturday the weather was absolutely wonderful and with this new venue right next door to the world famous Arena football pitch, home of Ajax, I arrived exactly two and a half hours after I left home. Plenty of time to check out the area and still be on time for my meeting with tour manager Tim Bricusse , a very friendly guy who immediately sorted me out with the right backstage pass, telling me Steve and the boys would be there in about half an hour's time. He would come and fetch me when the interview was due, and that's exactly what happened when all of the lads came inside to check out this new rock temple. The biggest chunk of the interview was conducted with Steve Rothery, whilst I also talked with Ian Mosley and Pete Trewavas. The latter had already told me some interesting information regarding the upcoming new Transatlantic album as well. I hardly saw Mark Kelly as he was running back and forth, armed with a video camera. Out of respect I didn't ask anything of Steve Hogarth as, after all, he had to save his voice for the gig, which was to be broadcast through the Internet via webcam. So let's sit down with Steve Rothery and ask him the dangerous question whether at all Anoraknophobia (later on referred to simply as Anorak) isn't more of Steve Hogarth's Ice Cream Genius mark two rather than a new Marillion album? "It would be complete and utter bollocks actually," laughs Rothery. "Absolutely no truth in it whatsoever in terms of the sound of the record. I probably had to do most with the sound on this album than probably anybody, not only regarding my guitar sound. I brought all of my studio gear to the Racket Club when we were recording the album and I was basically triggering drum loops and editing sequences. I also wrote quite a lot of the music, sometimes written when Steve (Hogarth) wasn't even there. Steve has an influence on certain tracks if he has a specific thing he wants to explore, but not so much on the new album. Dave Meegan had far more of an influence in terms of him guarding us. The way we work is we simply jam in the studio and those jams are recorded onto DAT or minidisc and then [we] pick out moments to use as building blocks for the songs and maybe some of the more left field ideas excited Dave the most. Dave is a perfect Irish gentleman and not at all the so-called "tyrant" some journalists take him for. I even think in another life he might be a priest. To us anyway he's a saint! He simply tells us what excites him and tries to guide us rather than dictate what we should do. When you have recorded twelve albums you always try to deliver something fresh, as no artist really wants to repeat himself. When you're writing you may have a drum loop or a rhythm which is very contemporary sounding and it doesn't alter the chemistry between the five musicians, but it's like a backdrop for a painter if you like. So in a way it guides you in a certain way, bringing out different aspects to what you would normally do. Everyone has his favourite style, I suppose, and especially when you're improvising ideas, it's easy to fall into familiar patterns, and the thing about using this sort of technology is that it forces you away from that a little bit. It makes you think again, which was a very useful tool."

So is the new album a logical step in the career of Marillion? "I don't think there's anything logical between any of our albums. Maybe the logic is that there is no logic! I don't think that you can draw a graph! From the moment you start writing an album and it starts taking shape, then it takes on a life of its own. It's like an organic thing really, so whatever direction the music is taking, it is the result of the interaction between the five of us, and I can't think of any other album where everyone has been as happy as with Anorak, because everyone had such a great contribution to it. Another important plus for us is the fact that we have our very own studio. Since the writing of Brave, our last five albums have been written and recorded in the Racket Club, which is a great freedom. Whenever other musicians come to our studio to visit, they are always so envious that we have this environment which is capable of world class results, but doesn't cost us a fortune to run. We write, rehearse and record there and also run our Internet operations from there. It simply is Marillion headquarters!"

Stories have it that when Steve Hogarth joined the band way back in 1989, Marillion thought of changing its name in order to start all over again. "I never had that thought. It's a hindsight [to think] that we would have stood a better chance of being acknowledged as something different to what you had in the past just by changing our name. I'm not convinced of this. The fundamental creative core of what we do, and what I do especially, has maintained a certain consistency throughout the career of the band, so I don't see what the point would be. To be honest, we have released more material with Hogarth in the band than we have with Fish. We no longer feel the urge to perform 'Kayleigh' for the 57th time on tour, we no longer need to perform the 'old' songs, although sometimes of course the audience would certainly love it. We have released so much material over the years that it becomes really difficult to make a set which pleases everybody. There's always someone in the audience shouting for 'Grendel,' but then again, sometimes people have a strange kind of humour. As kind of a humouristic answer to that, I even played the beginning of 'Grendel' as a teaser during one of our last gigs!"

With Marillion mainly being an album band, do the five of them nevertheless try to deliver at least one good single per album? Is the wish still there to create a great single, because, to be honest, Marillion never scored a big hit with Hogarth, but they did with Fish. "It's not something we ever worry about, really. Again with this album, Dave Meegan thought it would be essential to maintain the balance as regards [to] the track 'Map Of The World,' as this is the most commercial sounding of the lot. To us it's a question of the mood, the length of the song, the emotions, and sometimes you need a shorter song to make it more condensed, make it more optimistic, to balance out lengthier pieces."

Something that is rather different when compared to previous albums is the inclusion of bluesy atmospheres. Especially during "The Fruit Of The Wild Rose" this is very apparent. Was the blues element included intentionally? "I was jamming to get some backing tracks together, so what I did was strum some acoustic guitars and stuff, and when these parts were recorded I just messed around. I played the phrase, Dave really loved it, and we used it as a basis for the end section. Personally I love B. B. King, especially the live recording Live At The Regal, which sounds superb. Also some contemporary stuff such as Gomez I like the feel of, I also like Stevie Ray Vaughn. Of course I'm impressed by their technical approach, but I'm really into the feel of the music. Eric Clapton personally didn't do much for me, on the other hand Peter Green was quite exceptional. I also play some bottleneck, but that's not purely blues oriented anyway. As I said, most of the guitar on the album is from the backing tracks. What usually happens is you record the track and towards the end section you start jamming, trying various weird and wonderful things, some of which finish up on the album. My favourite on the new album has to be 'This Is The 21st Century' because it sounds very contemporary, it contains all the classic Marillion elements for me and I think it sounds very different to anything we have done in the past."

Apart from the music, Marillion also tries to make sure their sleeve designs are not the cliché prog type design. They even called the new little figure Barry! "We just tried to think of a name for our little character and Barry was one of the suggestions. When the designer sent us the design of one little figure, we thought it was exactly what we tried to say with the album's title, it was an intriguing image, also including some humour. The coat hanger was just added to make it even more interesting. After we decided on the title, but before we finalized it, we all knew about the existence of a Wallace & Gromit book also called Anoraknophobia. To be honest, there are only so many ideas in the world!"

With "prog" being massive in the seventies, the genre was also referred to as being "art rock," being big amongst university students. Was this the main inspiration behind Marillion's "tour of the unies" [universities]? "We needed a way to find prospective fans, and as bands like us don't get a lot of exposure on the radio, we thought the tour of universities would be a great idea to do. It was a little frustrating, as some of the universities seemed not to be sure [of] what we really wanted to do, until we explained what the idea was. Because of the low ticket price, some students even thought they would see a Marillion cover band. Instead they got the real thing! On about four of the shows we pulled around 300 to 400 students which was OK. In the end you have to see it as one big experiment."

By now everyone knows Marillion funded the recording of the new album with the money paid upfront by their loyal fans. In exchange for the money they sent a long, long time before, the fans got a special digipack edition of Anorak containing a bonus disc. In the end, the band could go to a major record company like EMI and negotiate a much better deal than they would have had otherwise. "If we didn't have our fans making sure the money kept pouring in, we would never have landed such a lucrative deal. Right now the 12,000 pre-sales enabled us to generate the same amount of income as if we sold 200,000 copies through a record company. It was a way of boosting your income and at the same time having absolute control over your art. At the end of the day we could have licensed it to a smaller company or an indie label, but the best of both worlds is to have the power of a major behind you. Our profile now is higher than it has been for the last five or six years, at least. Certain parts of the media have discovered us due to the way we financed the album, which apparently is a first in the entire music industry. Financial papers and magazines have done interviews and we have done a couple of special TV-programmes as well. A BBC documentary even filmed us a full six hours at the Racket Club. We'll also be on another BBC documentary about the Internet and how it has affected our lives and business."

During the recording of Anorak, ten songs were recorded but not all of them made it to the album. "Number One" made it onto the bonus disc but a song like "Power" seems to have vanished completely. "The song 'Power' was left off the album because the arrangement didn't feel right. It might end up on the next Marillion album or Steve might just use the lyrics for a future solo album of his, who knows. It doesn't happen very often that we are stuck with a song, so to speak. The way we work is that it would never have gone that far in the production process, because once we don't feel one hundred percent about an idea, we no longer work on it. The songs we really go for mainly end up on the album. It's not that we put a lot of energy into some songs in order to hand them on a plate to another artist. Marillion songs are for Marillion! Where 'Power' is concerned, it's a good song but it needs more music. We need to re-arrange it and write more sections for it. 'Number One' we liked, but in the end it didn't fit on the album. You'll find it in a live version on our latest Christmas disc though, as we like to use it in some way."

Stephanie Sobey-Jones guests on cello both on the Anorak album and on the A Piss Up In A Brewery live album. Which came first? Did the live album encourage the band to ask her for the new studio album, or was it the other way around? "She did the live dates with us first but we have known Stephanie for twelve years now. She used to work for Steinberg, the software company in Germany, but she's a classically trained musician, having played with top orchestras. There's no need, though, to ask her to come on tour or even to use samples as the songs she guests on are not performed live."

During the recording of Anorak, Pete recorded a second album with Transatlantic, Ian did his solo album, whilst H did some solo concerts. Everyone is kind of still waiting for a second Wishing Tree album though? "Well, I'm about [a] half to two thirds of the way through the next Wishing Tree album. I've been [a] half to two thirds down to the new album for the last two and a half years! So before the end of the millennium we hope to see it happen. Hannah [Stobbart, vocals] lives in California now, which means I might have seen her five days over the last two years or so. The plan is to get her over to Britain for a couple of weeks to work on the tracks later this year, so I really hope to finish it this year. The new material certainly is more modern sounding, a little bit more Portishead, with some tracks being more like Kate Bush, and one of the tracks being slightly Alanis Morissette. One song is rather bluesy, even in a Cream-y kind of way. Right now we did generate a lot of major interest for the second album. Sony has expressed a lot of interest into hearing new tracks, but it's difficult when you're in a band like Marillion, as it's so time intensive, taking priority over everything else, so you just fit in things whenever you can.

The initial stock of the Wishing Tree debut album Carnival Of Souls sold out, and as I had two great video tracks lying about, I thought it wouldn't be a bad idea to re-release it through the Racket Club. It also means that the Dorian label is now defunct, as I had too much [in] overhead costs to keep it afloat. In the end, I'm a musician and not a businessman, if you know what I mean. To be honest, running a record company means constantly running to get [a]hold of your money, that's what it's all about. My Italian record company went bust, so they still owe me a great deal of money; two Polish companies I did business with suddenly disappeared from the face of the earth. To give you an idea, the Mr. So & So album I did cost me £8,000. I didn't pay myself, as everything I did for that album I did for free. Although we had some reasonable sales, I'm still in debt for £2,000! I mean what kind of fool will continue putting all of his time and effort into something which at the end of the journey will still cost him money? In the end it came down to doing the job of a businessman who could sit all day in an office for all I care. Also by means of our website and the Internet we are now able to shift an interesting amount of CDs directly, which generates a fair amount of income for me without the aggravation."

Being on tour with Marillion, writing new material for Marillion, preparing a second Wishing Tree album - does Steve Rothery have time, other than Marillion and related projects, to listen to music at all? "Sometimes I watch The Tube with Jools Holland because it offers a wide variety of music. The band JJ72 I quite like. They're an Irish band with a girl singer who also plays guitar. She has a very distinctive high voice. It's difficult to compare them with any other artist. They have a lot of energy in their music, a lot of angst and yet the music is very melodic. Certainly an interesting band to watch! I quite like Gomez, I like The Unbelievable Truth, [and] Neil Finn's solo album I like. There's an English folksinger called Kate Rusby whom I really love. Who else? Fiona Apple I quite like. I try to listen to stuff that's really exciting, which is getting harder and harder to find I think."

With Richard Barbieri having played on Hogarth's solo album and having toured with H, Steve Wilson having worked with Fish, and Porcupine Tree being the support for Marillion, the understanding between Marillion and Porcupine Tree seems to be going rather well? "Yeah, they're a great band. Steve's a wonderful and talented guy as a musician, songwriter and producer. He did some mixing for us on Marillion.com as well. In fact we even discussed having Steve come aboard to produce the next Wishing Tree album."

With Rothery's signature already on the front cover of my Anorak digipack, I ask Steve if he can ask the others to sign as well. One minute later and I'm surrounded by all four of the other members. After fully signing the sleeve, Mark Kelly runs off to check some of his keyboards, whilst Steve Hogarth goes out to rest a little longer, saving his voice for what promises to be an excellent gig! Ian Mosley and Pete Trewavas however decide to hang on a little longer and chat about a trillion and one things.

One interesting topic certainly has to be in what respect Anorak was different than any of their other recordings. Ian Mosley: "There were a couple of differences, the main one being that Dave Meegan came in to produce the album and he always makes it a comfortable working environment because we know each other so well. Dave tries to keep us together in the room as long as he can because it is known that if one of the members of Marillion tends to leave the room, the others will follow soon after that! The main difference for me was that I no longer used klick tracks, but this time we used drum loops, which gave it a different feel. It was fun for me because it was like playing with another drummer."

Pete Trewavas continues: "There were some drum sequences and there were some bass sequences as well, little arpeggio things, and it didn't feel like I had a job to do because I could just play about whatever I felt like doing." Ian: "We were still together with all of the band when we were recording. We didn't record with one member in the studio and then the other coming in to record his bit, we were all in the same room at the very same time. The basic tracks were all done as a band."

When an album is finished, everyone has a specific track he is fonder of than any of the other material. Pete Trewavas: "For me 'If My Heart Were A Ball, It Would Roll Uphill' is my favourite, probably for obvious reasons. It's fun to play stuff like that as a bass player. For me it's a bit of a different approach really and a bit modern I suppose. I mean I've used fuzz bass before, but people tend to use more aggressive bass sounds these days, so I thought I'd give it a go as well. You'd think we could stretch these kind of songs as long as we wished for during live gigs, but right now, as all of these songs are brand new, we'd like to perform them as close to the original as possible. Sometimes people are a bit disappointed when they don't hear a song the way they want to hear it. Maybe in the future we'd try a more experimental approach to some of the newer songs."

As years go by, and more and more new material is added to the Marillion discography, how difficult does it get to put a setlist together, and don't people still tend to shout for the "old" songs? Pete: "For this tour we decided not to go [back] further than ten years. So we only pick material from the albums Steve's been on. It's been a long time since anyone in the audience shouted for 'Grendel' or 'Punch And Judy' though."

Ian: "We had them all shot!"

Pete: "The only place where people wanted to hear really 'old' stuff was Dublin, and that was because we hadn't been there for fifteen years. So that audience hadn't heard the material live that other people had heard all over the world several times over. Regarding the new album, I think Anorak is a logical result after Marillion.com. From our point of view Marillion.com was a safe album to make. The songs were a bit shorter and I kind of knew how they would end up, whereas the new material having Dave involved[, it] became very interesting. Some of the songs I thought we didn't have enough material for, ended up being some of my favourite things. Dave heard what we wanted to create in the room and made that happen on record, which is very hard to do. I mean it's very hard to take something that sounds very exciting when you first play it and actually reproduce all of that, the feel and the power and the sound when you come to record it properly. You're looking at sounds much more in detail when you do the actual recording and that can sometimes change sounds or change people's attitudes."

Ian: "Dave has got this amazing capacity to memorize everything we play. Even after two months he might come in the studio and ask you to play something you did two months ago. We no longer know how it went but he knows it down to every little detail. He probably has it on minidisc as well and it's difficult to know what he's talking about as these ideas don't have any titles."

With each new Marillion release, critics have a more difficult task in trying to fully describe what's going on. For most of them Marillion is getting further and further away from "prog," but what exactly is "prog" and if "progressive" means "to progress," "trying new things time after time," then Marillion is probably the biggest "prog" band of them all! Pete: "That's very kind of you to say so, but you're absolutely right. Progressive doesn't mean that we should deliver a second version of Season's End or a second version of Misplaced Childhood. We want to, as you say, 'progress' into trying new things, new ideas, new sounds. It's the only way we can work. The media indeed has made kind of a concept of what everyone should understand by the word prog'. If it gets too far away from that mould it can no longer be prog.

If you take Transatlantic, that was fun to do and that was writing music which perfectly fit into that mould, as we kind of took our favourite bits of Yes or Genesis and put it into some kind of retro thing. As you know, we have finished recording the second Transatlantic studio album. We recorded it in Nashville in January. There was a substantial difference between the recording of the first and the second. I mean, for the first album we hadn't even met before, which was a bit awkward. The only way to make it work back then was to take one of Roine's songs and a couple of Neal's songs and record them, which was basically what we did. Because we also did some gigs together afterwards, we are now more of a band than before. For the second album, I had written some stuff as well. We got more time in the studio so we could arrange everybody's bits and pieces in a better way. Roine and Neal sent the members some CD-Rs of the ideas and songs they wanted to have on the new album. Meanwhile I wrote some bits which I thought Neal could do well on organ, and I wrote passages which I wanted Roine to play and in the end they did use a fair amount of my ideas as well, so I'm quite pleased. We're also all singing! Neal's got a good voice but if he sings too much on a Transatlantic album then it becomes too much like Spock's Beard [album], which is why I was keen for Roine and myself to add a little more singing. We had it mixed by the guy who mixed our first album, but we weren't very happy with it. At the moment we're thinking of having the album remixed. So much for solo stuff being fun [loud laughs all around]. The release date was August but was then moved to September and the last thing I've heard is that they moved it back to October, so maybe next year, who knows? Anyway, I've done my bit, so I can fully concentrate on Marillion again. There's no title for the album as yet, but I can give you a title of one of the songs which is 'Bridge Across Forever.' It's a nice little ballad, with piano and voice, which Neal has written. There's two songs which are nearly 30 minutes long and one song is 25 minutes long so it took us ages to wind the tape from one end to the other! It will be a single album with a bonus disc with lots of other stuff. Unlike Liquid Tension Experiment, it doesn't mean that this second album will be the final Transatlantic album. We haven't fallen out on each other enough, so we might continue [laughs]. We'll have to wait and see because everyone is so busy."

Coming back from doing some solo work and stepping in the studio with Marillion, does it happen that certain solo ideas filter through in the music of Marillion? I mean Ian has just released this jazzy album called Postmankind together with Ben Castle, so when the recordings for the new Marillion album start, chances are there might be some jazz feel introduced? Ian: "I think for all of us to go out and do other projects is a good thing. Sometimes you get back to Marillion and you think pfew feels good to be back'! It's not because I've worked with a saxophone player on my solo album that I need to have it in Marillion. In fact, it was just the other way around, as Ben played on the Marillion.com album. It was when I heard him play there that it occurred to me it wouldn't be such a bad idea to do a solo album with him. I think the next thing I want to be involved with is doing something with six female cellists, definitely naked with fiberglass cellos! No, to be honest I'd like to do something more guitar based and heavier."

Pete: "I'd like to do something outrageously successful for a change! The Transatlantic thing was great because it got me some more exposure for myself, but it was so nice to be back doing Marillion stuff, coz' that's really what it's about for me. We're such good friends (most of the time) and enjoy the way we play together. It's like getting back to the Marillion mothership!"

Is it an ambition as a bass player to become the new Jaco Pastorius? Pete: "I've given up on that idea years ago. There are so many technically brilliant musicians, but half of them forget what it's all about, forget about melody and simple tunes because they are so hung up in their technique. If you take the epitome of a great bass player at the moment it would be the guy in Dixie Dregs, Dave LaRue, because he has all that stuff, yet he uses it in such a cool way. Like when Eddie Van Halen did all that crazy solo stuff, he had a sense of humour and a sense of still being a musician rather than a technician. Marillion never has been highly technical, I won't tell you why [laughs], but believe it or not, contrary to what people might believe, there is a lot of humour going on in Marillion. Typical British humour, whilst Portnoy has that very loud American way and Roine is the silent, freezing Scandinavian type."

Weren't you a little "frightened" when Transatlantic asked you to be their bass player? Pete: "I was, yeah. I was thinking, why do they want me? They send me Neal's demos and Neal put a note on saying sorry about the bass playing' but his bass playing was great! The chemistry of us four in a room simply worked wonders. That's the magic of Transatlantic."

Will there ever be a sequel to the Iris album you both did together with ex-Arrakeen guitarist Sylvain Gouvernaire? Ian: "I prefer to do one thing and then move on to do something completely different. I have always said from the very beginning that it would be nice to have one main project, which in my case is Marillion, and then be able to do things around it."

Pete: "It's fun to do one-off things because people don't have preconceptions that way, but Marillion really is our main interest. As you said yourself, we always come back to the mothership in the end!"

With sincere thanks to Steve Rothery, Ian Mosley, Pete Trewavas, Tim Bricusse and Lucy Jordache.

Discography:
Script For A Jester's Tear (1983)
Fugazi (1984)
Reel To Real (1984)
Misplaced Childhood (1985)
Brief Encounter (ep) (1985)
Clutching At Straws (1987/1999)
The Thieving Magpie (1988)
B-Sides Themselves (1988)
Season's End (1989)
Holidays In Eden (1991)
A Singles Collection (1992)
Live at the Borderline (1992)*
Live in Caracas (1993)*
Live in Glasgow (1993)*
Brave (1994)
The Making Of Brave (1995)*
Afraid Of Sunlight (1995)
Made Again (1996)
Kayleigh (1996) (Dutch comp)
Essential Collection (1996) (UK comp; same as above)
Best of Both Worlds (1997)
This Strange Engine (1997)
Rochester (1998)*
Piston Broke (1998)*
Tales From The Engine Room (1998)
Radiation (1998)
Christmas 1998: The Web Christmas**
Kayliegh: The Essential Collection (1998) (UK comp.; diff. from above)
Unplugged At The Walls (1999)*
Marillion.com (1999)
Zodiac (1999)*
Christmas 1999: marillion.christmas (1999)
marillion.co.uk (or bonus disk) (2000)***
The Singles: '82 - '88 (box set) (2000)
Christmas 2000: A Piss-Up In A Brewery**
ReFracted! (2001)*
Anoraknophobia (2001)
Another DAT At The Office (2001)*
Christmas 2001: A Verry Barry Christmas (2001)**
Fallout (2002)*
Anorak In The UK Live (2002)*
Brave Live 2002 (2002)*
Caught In The Net (2002)*
AWOL (2002)***
The Best of Marillion (2003)
View From The Balcony (2003)***
Christmas 2003: Say Cheese! Christmas With Marillion (2003)**
Curtain Call (2004) (3CD Box)*
Crash Course (2004)***
Marbles (2004)
Somewhere Else (2007) Crash Course (Ver 5 - 2007)*
Christmas 2007: Somewhere Elf (2007)**
Family (2007)*
Friends (2007)*
Crash Course (Ver 6 - 2008)*
Happiness Is The Road - Volume 1: Essence (2008)
Happiness Is The Road - Volume 2: The Hard Shoulder (2008)
Early Stages - The Official Bootlegs 1982-1987 (6CD Box) (2008)
Christmas 2008: Pudding On The Ritz (2008)**
Happiness Is Cologne (2009)*
Live From Loreley (2009)
Recital Of The Script (2009)
Less Is More (2009)
Size Matters (2010)*
Tumbling Down The Years (2010)*
The Official Bootleg Box Set, Vol. 2 (2010)
Live From Cadogan Hall (2010)*
Live In Montreal / Saturday (2010)*
Live In Montreal / Sunday (2010)*
Keep The Noise Down (sampler) (2010)
marillion.com Deluxe Digipack (2011)
Somewhere Else (2LP) (2011)
Marbles Deluxe Digipack (2011)
Marbles (2LP) (2011)
Live In Montreal / Friday (2011)*
Season's End Live 2009 (2011)*
This Strange Engine Live 2007 (2011)*
Afraid Of Sunlight Live 2003 (2011)*

Brave Live 2002 (2002) (DVD)
Shot In The Dark (2002) (DVD / Video)
A Piss-up In A Brewery (2002) (DVD)
The EMI Singles Collection (2003) (DVD)
Christmas In The Chapel (2003) (DVD)
Before First Light (2003) (DVD)
Marbles On The Road (2005) (DVD)
Bootlet Butlins (DVD) (2007)*
Somewhere In London (DVD) (2007)
This Strange Convention (DVD) (2009)
Snow De Cologne (DVD) (2009)**
Out Of Season (box set) (DVD) (2010)
Ding Dong Loreley On High (live) (DVD) (2010)
In-Tube DVD Sampler (DVD) (2010)
Out Of Season (DVD boxset) (2010)
Live In Montreal (3DVD) (2011)