The King of Sunset Town
Easter
The Uninvited Guest
Seasons End
Holloway Girl
Berlin
After Me
Hooks in You
The Space…
It’s difficult to recall now what seemed like such heady times: frontman Fish’s abrupt departure from what was then an arena-filling Marillion and the barroom debates that followed; how could they possibly go on without him? Well, with relative ease, it seems.
"I was in the office of Rondor, my publishers, and asked if anyone had anything I could do," Steve Hogarth told Prog. "I meant in the office, a bit of typing, or engineering their little demo studio; just basically to be able to relax and enjoy it and not be under any pressure. The general manager, Alan Jones, lifted his head up off a sofa in his office and said: ‘Do you know Marillion are looking for a singer?’ I said: ‘I didn’t mean that'."
Many diehard Marillion fans were sniffy about Hogarth: he’d been in pop bands. But Seasons End put the doubts to rest. He had his own style, more naturally melodic than Fish, and if his lyrics (co-written with friend John Helmer) lacked his predecessor’s idiosyncratic edge, there was a sly dig at Fish in The Uninvited Guest.
Musically, Seasons End was a subtle progression, peaking with the elegant Easter and a green-themed title track developed from Beaujolais Day, a song the band demoed with Fish in 1988. Seasons End charted at No.7.
Every week, Album of the Week Club listens to and discusses the album in question, votes on how good it is, and publishes our findings, with the aim of giving people reliable reviews and the wider rock community the chance to contribute.
Other albums released in September 1989
- Love and Rockets - Love and Rockets
- Alice in Hell - Annihilator
- Key Lime Pie - Camper Van Beethoven
- Louder Than Love - Soundgarden
- Megatop Phoenix - Big Audio Dynamite
- Mick Jones - Mick Jones
- S&M Airlinesn - NOFX
- Up to Here - The Tragically Hip
- Wake Me When It's Over - Faster Pussycat
- Pump - Aerosmith
- Foreign Affair - Tina Turner
- Quickness - Bad Brains
- Allroy's Revenge - ALL
- Oh Mercy - Bob Dylan
- Sound + Vision - David Bowie
- Let Love Rule - Lenny Kravitz
- Brave And Crazy - Mellisa Etheridge
- Soldier of Fortune - Loudness
- The Healer - John Lee Hooker
What they said...
"After Fish's departure, Marillion teetered on the brink of collapse: The frontman's distinct voice and poetic prose made him the defining member of the band. One can only imagine how record executives held their collective breath as Steve Hogarth was brought in to take the reins. His first outing with band, 1989's Seasons End, removed all doubts about the band's future." (AllMusic)
"Marillion was Fish, Fish was Marillion and the rift needed to be reinforced with publicity. Seasons End offers the same good old flamboyant prog rock that we all thought belonged to Fish alone, but no, new frontman Steve Hogarth fits the mould. Despite the odd lapse into a slick, Foreigner-like sound (notably in the single Hooks In You) he's an almost adequate replacement." (Hi-Fi News & Record Review)
"Easter of course is one of the desert island choices. One of, if not the greatest of Steve Rothery’s solos breaks out of a multi-part landmark piece of music. Acoustic, folky, emotional and inspirational. Worth the price of admission alone, despite the hardships of filming of the promo video. Knocks Gilmour’s Comfortably Numb out of the park, IMHO as they say." (At The Barrier)
What you said...
John Waters: Nah, I'm good with the Fish era and Fish solo.
Mike Canoe: As someone who hasn't listened to much Marillion outside of this club, I am fairly agnostic regarding the Fish or Steve Hogarth eras of the band. I liked Fugazi when it was a club pick in year three and I like Seasons End.
While I haven't had much of a chance to delve into the lyrics this week, the music is more upbeat than I remember from Fugazi. The adjectives "bright" and "shimmering" come to mind. The music is both artful and accessible, with Steve Rothery's guitar playing particularly standing out.
My definition of "prog" has evolved exponentially over the past few years from when I wasn't really interested in beyond what I considered the golden age of prog in the seventies. While I realize Marillion isn't a new band, they are still new to me and they and the bands that followed them are giving me many new musical worlds to explore.
Greg Schwepe: A big thank you to this week’s “Album Suggester” for Marillion’s Seasons End. Having previously wanted to check out Marillion I bought Misplaced Childhood and Script From A Jester’s Tear to get me started. While I liked both albums and they garnered multiple listens, there was nothing that made me jump and shout and go “Wow, and now I have a zillion other albums to check out that I’ve been missing!” Weird. So now I was given a firm idea on what to check out next.
And yes, this was a great album to explore. Liked all nine tracks. The fact that this album was “Fish-free” and the first one with Steve Hogarth had no bearing on me. For the most part I am able to adapt to the many lineup changes that the prog rock bands seem to go through.
Overall, while listening I found the same pattern in most of the songs; slow arpeggiated guitar or keyboard into, middle kicks in a little, song fades to end. I could almost call this the “Bell Curve” album. Same type formula throughout, but the formula worked. This wasn’t a detriment to me and I found myself waiting for the song to eventually kick in each time. Only Hooks In Me seemed to be full force right out of the gate.
Quick and simple review this week. Will definitely now check out more of Marillion’s catalogue. Heck, you scroll through Spotify and between the regular releases, reissues, bonus stuff, internet-only stuff, looks like I’ll be busy awhile. 8 out 10 on this one for me for this modern prog band, new prog band, or whatever musical genre basket that Marillion gets thrown into these days.
Chris Elliott: When you loved the previous version, change can be hard. In reality, the 16-year-old that fell in love with Marillion wasn't the same as the 23-year-old that heard this. My tastes had broadened a lot and by 1989 I was listening to a lot more UK indie and stuff. House was "fun" in 89 too - this just wasn't my thing. It's not as disappointing as I remember, but it's like meeting an ex, except she's no longer the feral hippy you went out with.
Iain Macaulay: Going against the grain here, but being a big fan of the four Fish-fronted albums, and seeing them live during that period, where they were outstanding, this just did nothing for me on release. And unfortunately I have to say still doesn’t. Lyrically, musically and atmospherically, it just doesn’t resonate or connect the way the first four did. Fish was such a massive character and his lyrics so poetic and epic. Then he left and I heard this… and sighed. And thus ends the web.
Philip Qvist: I haven't heard much of the post-Fish Marillion, but Seasons End has convinced me that maybe I should. Steve Hogarth is a great singer in his own right and was probably the right choice to front the band.
Musically the band is on top form and the album is full of strong songs. King of Sunset Town and the title track were my favourite songs.
The Fish albums are still my go-to Marillion albums, but this album is by no means a poor imitation. A very good start to the Steve Hogarth era.
Gary Claydon: It was a messy divorce, by any standards, when Marillion and their charismatic frontman parted ways. Through all the very public spats, there was one burning question, though: would a Dick-less Marillion be any good?
The answer to that is an overwhelming yes, as their longevity and continued popularity show. However, they would become a very, very different beast.
Their first post-Fish effort, Seasons End is a truly transitional album. Much of the music had already been worked on before Fish left the band, in preparation for what would have been the next album. With their main (only?) lyricist now departed, the remaining band members enlisted some outside help, in the shape of John Helmer, formerly of The Piranhas (of Tom Hark fame) and Pookiesnackenburger.
The new vocalist, a relatively unknown Steve 'h' Hogarth, might have been a surprise choice but he proved to be a canny one. He came with a bucketful of his own ideas which, along with Helmer's contribution, took the existing material towards a new direction. There were still clearly discernable links to the Fish-era, but gone were the often introspective themes of the earlier albums, replaced by a somewhat 'sunnier', more outwardly-looking approach plus a feeling of a band starting to emerge from the shadow of their former frontman.
Comparing Seasons End to the band's first four albums is, then, a pointless exercise, especially its immediate predecessor, the darkly brilliant Clutching At Straws, arguably the best Marillion album ever released. Better to look at this as a completely new band ('New Marillion', 'Marillion Mark II' , 'Stillmarillion'? ) and consider this a 'second' debut.
Marillion embarked on their next phase by throwing the public a massive curveball. Lead-off single Hooks In You couldn't have been more 'un-Marillion' and I can still hear the wailing and gnashing of teeth from the more old-school fans. I loved it though. Still do. It's a prime slice of straightforward, radio-friendly hard rock with a neat riff and hooky chorus. It also served notice that Marillion were not simply going to do a re-hash job.
I've always thought that Seasons End is very front-loaded. Most of the best stuff comes in the first four tracks. Hogarth proves to be an engaging vocalist, however there are still times on a couple of tracks when something is slightly lacking. That something is the sheer drama and attack of Fish's delivery and this particularly stands out on The Uninvited Guest. This is still one of the highlights, though, along with the gorgeous Easter, album opener The King of Sunset Town and the title track. The second half of the album is weaker, for me, though given a much-needed boost by the upbeat Hooks In You.
Overall, Seasons End is a good album and this particular 'end' marked a new beginning for a much-loved band who have probably, by now, reached national treasure status and you'd be hard put to find a more loyal – not to mention friendly – fanbase than Marillion's. They are just that sort of band and one who have definitely gone on to plough their own furrow.
Clark Bickling: I love this album! Definitely had a giant poster of the album cover in my dorm room.
Marike Elzinga: There are some great tracks on Seasons End, I especially love King of Sunset Town, Berlin and The Space...
Bob Chapman: Tonight, while I made dinner, I listened to Seasons End followed by Clutching at Straws, just to see if my thoughts have changed during the past 35 years. Nah, they haven't. Put me in the yeah-whatever-I-wish-it-were-Fish camp. Perhaps if Hogarth-era Marillion had been my introduction to the band, I'd feel differently, but the very first time I heard Kayleigh on the radio in 1985, I was 100% hooked.
Here's the key for me... The first time I heard Fish singing, I felt him connecting with me. The first time I heard Hogarth singing, I felt he could've been connecting with my girlfriend at the time... if I'd had a girlfriend at the time. And then I immediately found myself longing for Fish's voice, singing about how much it sucks when you don't have a girlfriend.
Anyway, the only thing that's really changed in the past 35 years is my wife of 31 years. When I hear Hogarth sing on Seasons today, it still doesn't feel relatable to me. When I hear Fish singing on Straws today, I want to be sitting across the table from him, having a chat.
That's all.
Martin Staudt: I remember listening to this album on release, the musical intro to King Of Sunset Town, with the opening lyric referencing the Tiananmen Square massacre I felt everything was gonna be just fine. I love both eras of the band. I regularly revisit the albums with Fish, but the albums with H have built on that legacy and the last few albums have been superb. An Hour Before Its Dark is immense. Perhaps the longevity of the band may not have been possible had Fish stayed.
Seasons End, like Fish's first album Vigil In A Wilderness of Mirrors, are the crossroads, with both albums influenced by the other party. Marillion progressed musically and lyrically.
It doesn't need to be an either-or on the eras, you can appreciate both.
John Davidson: I was a massive fan of Marillion, particularly after seeing them live on the BBC Sight & Sound in concert (which, remarkably, has appeared on YouTube).
Script..., Fugazi and the 12" version of Market Square Heroes were on permanent rotation in my university hall. Then came Kayleigh and the rambling Misplaced Childhood. Clutching At Straws seemed more of the same (though I have gone back to that since and it is a superb end to the Fish era).
So, despite loving Fish as a frontman and wordsmith, when he left and Seasons End arrived with a new singer and a slightly more focused album I thought it was a positive move. A bit like Ozzy leaving Sabbath, we got a solo artist and a continuing band both producing worthwhile music (your mileage may vary on how long that period lasted in either case).
Seasons End opens with Sunset Town which after a slow intro bursts into life. Easter is an almost Folky ballad enhanced by Rothery's signature guitar solo. Uninvited Guest is a delightfully wry 'breakup song' which is a spiritual followup to The Web and Incubus.
It's on the longer songs that Fish is missed. Hogarth's delivery lacks the theatricality and his words lack the bite that elevated Marillion's earlier albums out of proggy indulgence. If I have criticism of H it's that he comes across as a little too earnest. Fish was always fun... even when he was being a miserable clown.
Musically the album is faultless. Steve Rothery in particular produces some wonderful guitar solos and Pete Trewavas bass comes through in the mix as a full part of the music. It just lacks a little of the spark that I loved so much in the first two albums
Fish never really found such sympathetic musical collaborators again. His solo work was imo patchy at best. (Though his final album Weltzmersch was a belter). Similarly, Marillion without Fish have produced some excellent music but they've rarely set my pulse racing with excitement at a new release.
Seasons End is probably my favourite album of their post-Fish output though the live album Size Matters is a great collection of their longer songs if you feel proggily indulgent. 8/10.
Nigel Taylor: I absolutely love this album and still think it's the best H-fronted one. For me it still sounded like Marillion, and they changed as time went on afterwards to a Marillion that often wasn't one I really enjoyed.
Andrew Bramah: I remember a review at the time describing Seasons End as the quintessential Marillion album. Putting the Fish/Hogarth debate to one side, it's just great music.
Daniel Reichberg: Such a beautiful album.
Chuck Cutsail: That’s a great record.
Paul David Siddall: King Of Sunset Town is a stunning opener in my view. Took a few listens to get really into it after Fish's stuff (Clutching at Straws) was in my top ten albums of all time and was this album's immediate predecessor. On the other hand I never got into Brave and pretty much stopped listening to the new releases thereafter.
Kev Moore: First Marillion album I ever bought. Easter, Holloway Girl, Hooks In You, it’s bloody brilliant.
Tom Dee: At the time of this release I had not heard any Fish / Marillion music apart from the singles so this was completely new to me with H as the vocalist. Found this to be a fantastic musical experience. Great songs and for me the beginning of a new musical journey.
Adrian Smith: Absolutely my favourite Marillion album. Many many highlights. Have seen them live loads of times - Easter live is just amazing. Thanks for giving me an excuse to play it again.
Ian Clark: The title track is unbelievable. It still gives me chills to this day.
James Last: Not my favourite album from either era of the band, but it's good, I still own a copy of it. It's a unique album in their catalogue, as it's obvious that the creative process was begun when Fish was still there, but Steve Hogarth also puts his own stamp on the music right from the outset, so it's transitional in every sense of the word, they never really sounded like this again. It points the way forward whilst providing closure on the past. 7/10.
Gary Wardlow: Love this album.
Mark Herrington: I’d never heard Seasons End before, but, judging by a first listen, I’ll be keeping the album download from iTunes.
Steve Hogarth is an accomplished vocalist with a good range, reminiscent of another singer I like, Jonathan Meiburg of Shearwater. The instrumentation is skillful, as you’d expect, and the songs have good hooks and build the tempo nicely throughout.
Overall, an enjoyable listen and one that has inspired me to dig a little deeper into the post-Fish Marillion material.
Nigel Mawdsley: The Fish era of Marillion was good, but Steve Hogarth took the band to another level. Seasons End is a great debut album for H with a wide variety of styles, but I can see why some 'Fish era' fans dismissed this as too 'commercial'.
Hooks In You is an anthemic rock song, and whilst some members of the band apparently don't like it, it soars catching the listener halfway between headbanging and dancing. The other singles, Uninvited Guest and Easter (with its gorgeous folky melody) should have 'smashed' the UK charts, sadly they were only minor hits.
The whole album is well structured and every song has the potential to draw the listener in making it a fascinating piece of work. It's also well worth tracking the bonus studio tracks, The Bell In The Sea and The Release, down too. Seasons End may have been the end of the Marillion journey for some, but for others it has been a journey that's just got better and better.
Final score: 8.09 (66 votes cast, total score 534)
Join the Album Of The Week Club on Facebook to join in. The history of rock, one album at a time.
