A short catch-up episode. Mark and Tallulah discuss their Pompeii experience — the choir, the pre-show keyboard crisis, playing "Sugar Mice" in the rain — plus podcast meetups, the UK tour and more...

Mark and Tallulah deep dive into Script For A Jester's Tear, Marillion's 1983 debut — six songs, forty-six minutes, more chaos than the record lets on. Razor-blade multi-track edits, £1,000 for Trevor McDonald was too much, a secret backwards message meant only for Kayleigh, and stories behind Mark Wilkinson's cover art. Plus: plague pits, a stolen Small Faces melody, and the bass fluff that made the final mix.He Knows you Know early demo - https://www.youtube.com/watch?v=8l507pRZEz4

Mark joins Tallulah from backstage in Bonn as Marillion's German tour begins with the live debut of "Ribbons and Lace." The book's final chapter covers the story behind "Gaza," the Frankfurt cement mixer accident, sudden hearing loss, marathon mishaps, a famous F1 fan, and a Nick Cave encounter.

A little pre-tour update...

Mark and Tallulah are joined by David Stopps, the promoter behind Friars Aylesbury, which he founded in 1969 and has run for 56 years. David recalls the club's earliest nights — including King Crimson and Genesis — managing Marillion for 5 short weeks, managing Howard Jones, and the Kickstarter behind Aylesbury's David Bowie "Earthly Messenger" statue. Plus Marillion's hometown return on 21 September.Links:How to make a Living from Music - David StoppsDavid Bowie "Earthly Messenger" statue, AylesburyFriars AylesburyStagehand (the road-crew charity David fundraised for during Covid)

Mark and Tallulah are joined by Guy Vickers — barrister by day, musician and lyricist by night — the man behind the lyrics on Mark Kelly's Marathon and the legal brain behind Marillion's battle with EMI.00:25 — Introducing Guy: weekend warrior, full-time barrister03:13 — How Pete's dinner introduction kicked off the EMI streaming dispute06:03 — The dissolved companies crisis: six months to save the pre-'96 royalties10:05 — Pitching the box sets to EMI, and Fish's pub reunion proposal13:27 — Marathon begins: number stations, spies and lyrics as relationship code19:30 — The Anthropocene concept and what makes a human human21:02 — Writing Amelia and 2051: Earhart, Kubrick, Clarke and Stephen Hawking23:00 — Finding Ollie and hearing Amelia sung for the first time in New Orleans29:15 — Why "Marathon"? The Ritchie Blackmore's Rainbow logic34:07 — The lost song about plagiarism (and Led Zeppelin's borrowed blues)39:00 — Why Amelia crashed: Morse code, blind spots and unknown unknowns43:47 — Wingsuits, risk and how you'd want to go out

This week we dive into Mark's years on the FAC and PPL boards, fighting for artists' rights while Marillion were being short-changed by their old EMI deal. The lawsuit that followed and the after-the-event insurance gambit, the sleepless night when EMI claimed Marillion had no legal standing because Marillion Limited had been dissolved! Plus the Portugal writing session that ended in a tactless row with H over a lyric, and the six-month silence that followed.

This week Mark calls in from Peter Gabriel's Real World Studios — with a quick video tour and the story of meeting Peter Gabriel for the first time.Then into deputising for Adam Wakeman in Travis (with "drink beer" written across half the setlist) and a candid post-mortem on Somewhere Else — the dropped pre-order, the EP that never was, Mike Hunter's confidence taking a hit, and which songs hold up (and which really don't). Plus "Almost a Midwife Mark", and the tweet that got Mark to delete Twitter, tour meet-ups, and a Marillion quiz coming for Patreon members.

This week we answer your questions. If you have a question for inclusion on a future episode ask it on our Patreon "Questions questions" chat.

This week we speak with manager Lucy Jordache about her 30-plus-year journey, from a teenage Marillion fan to EMI catalogue manager, band manager, and Ian Mosley’s wife. Along the way, she discusses taking a pay cut to get into the music industry, a rocky first meeting with Fish, and how she and Ian got together. Plus, a frank conversation about what the future might hold for Marillion