This page is dedicated to any clarifications that may arise. If you spot something you feel is inncorrect, please contact us at email@example.com:
- On page 113, we stated that 'Six Of One, Half A Dozen Of The Other' is the UK title of the 1992 Singles Collection. In fact, 'A Singles Collection' is the UK title, and 'Six of One' is the US version!
- On page 59, we state that 4 tracks from Real to Reel were recorded in Montreal, Ontario. Montreal is actually in Quebec. Our apologies for our poor geography.
- The airport scene on Page 86 was probably Schipol, not Utrecht (which doesn't have an airport!)
- On page 22, the picture incorrectly credits the bassist as Doug Irvine. It's Diz Minnit.
- Mikel Orsborn's name is incorrectly printed on page 123.
- Fish writes "One absolutely unforgivable comment is that I had demanded "50% of the band's income".This was never the case. The 50% that was in contention was the publishing split of which it is standard for a lyricist/ top line melody writer to receive. I had agreed before Fugazi to a 35% share under duress from John Arnison in order that no one member would earn substantially more than the others (Script was an equal split between the 5 band members) I had argued my case with John since before Misplaced who agreed with me as always but never took it any further. After all it didn't really matter to him as he was on 20% commission of the gross!" For more information on this, please read Fish's response in the News section.
- The following came from a post from Mark Wilkinson to the Freaks Mailing list:
Hi Freaky type people.
Thanks Jon for the book which I received in the post...
My stuff is slotted in to the mix generally well. The bit about Jo and the portfolio was a tad revelatory... I'll have to adjust my historical perspective when anybody asks... genuinely didn't know that particular piece of the jigsaw. Still, I assume this was the purpose of the book. Not even begun the H era story... will be interesting for me as I've not met him, or indeed seen the band since Clutching, apart from a nice chinwag with Steve in the pub warm-up just before Fish's Raingods release. Now, I know how these things work... to see the wiring beneath the boards takes great care and skill in sorting out the truth from anecdotal evidence and what is chosen to be remembered... and conveniently forgotten. I applaud Jon if he's managed to do this as accurately as he wished.
The one glaring error regarding me has to be addressed however. I can only assume that Mark's point (on page 96) about me (ahem) 'trying to persuade Marillion that I could continue to work with both Fish and them without problems' was filtered thru John Arnison somehow... and got distorted. Actually... so distorted as to be the polar opposite of what really happened. I witnessed the bust up at Fish's house and shortly afterwards read the leaving statement from Fish. A week or so later, John rang me to say what a shame it all was, and that I had 'witnessed the sad end'... la de dah... but 'life goes on'... and could I be thinking about rough drawings for the Season's End sleeve. I refused, at least until the bad blood had stopped spilling on to the Masque book project which Fish and myself had worked hard on for some months. I persisted in my belief that I could not see how I could with any integrity carry on working for both parties while that was still brewing. John bemoaned the fact that Fish was taking the band's 'image' with him... and I never spoke to him again. Apart from once, years later over a job for Genesis of all things (the mind boggles!) I had, at no time discussed continuing to work with Marillion with Mark, Fish, or any other band member. It was my decision to carry on working for Fish, and mine alone. The only time I ever spoke to Mark again was months afterwards when he rang me at the studio to take me to task over Vigil and the 'tramps at the bottom of the hill' fiasco. He was angry at me over that... which I could understand! See... artists can be mischevous too! Bah humbug! Merry Christmas to you all... hope you have a ball.
- A link has been added to Claus Nygaard's 'In Shades of Green Through Shades of Blue. The Story of Marillion with Fish' site which was missing from the existing list of fan sites. Our apologies.
- Pg 46: The box entitled 'I'm Miming' incorrectly states Fish used a flip chart when the band performed Garden Party on Top of the Pops. It was, of course, Lavender.
- David Eaves over on Freaks gave us the following info: "A guy I know Neil Cockle is chuffed his name made the family tree, yes it is the Neil Cockle who was in Silmarillion, only amendment is he does still dabble in music and has his own home studio!"