When Derek William Dick, aka Fish, departed Marillion I sided with him without hesitation although I did follow his former band mates for a few years. That's a different story which I am already telling here on the blog but it's coming to its conclusion. Therefore I thought the time was right to begin to focus on Fish's illustrious albeit turbulent solo career. Even moreso now since he has retired from the business.
After the much-publicized split between Fish and Marillion in 1988 both parties remained with EMI Records, Fish simply because of a clause in the band contract giving the label first rights to any band member leaving. This meant the big Scot would either stay with them or not record at all for a number of years. So Fish duly yet very reluctantly obliged. Prior to leaving Fish had not only had a big falling out with guitarist Steve Rothery, he was also leading the charge to fire manager John Arnison, an attempt which failed although the band did follow though with it years later admitting it should have happened much earlier. At the same time Fish also wanted to replace Mark Kelly with former Mike Oldfield keyboard player, Mickey Simmonds. This coupe failed as well so when the inevitable split was final Fish took all his lyrical ideas, new and old, and partnered with Simmonds.
The writing sessions began at Fish's London home while his new digs in Haddington, Scotland, was made livable. The new home would come to include his own studio, Funny Farm, a life saver eventually but almost a career-wrecker at first. The duo quickly realized a guitarist was needed for the sessions prompting the singer to turn to his old friend Frank Usher. Everything clicked immediately between the three and the writing took off nicely. Even so, former Dire Straits guitarist Hal Lindes entered the fold shortly after and things ran even smoother.
Personally it's rather telling and obvious that the album begins with the title track. It's a very personal and candid composition which epitomizes the position he was in at the time. Exasperation about his previous life and the uncertainty of the new he is calling for attention about it all. The song is also a jab at the ever growing materialism and consumerism as well as the escalating misinformation in society. 'Big Wedge' comes on strong with a horn section helping to enhance the Americaness of the song. Big and bold Fish uncovers the plasticity in the US and again holds no punches about capitalistic greed. Musically 'State Of Mind' is guided by a fretless bass guitar keeping at mid-tempo pace eventually. A protest song about governmental incompetence, how politicians walk in circles and never tells the truth. 'The Company' originates from Fish's last months in Marillion and candidly displays his thoughts and feelings about events leading up to the break. 'A Gentleman's Excuse Me' is one of the most beautiful yet sad songs I've ever heard. Fish wrote it feeling his marriage was coming to an end but wasn't sure if he was overthinking and exaggerating the situation. It's him and Mickey Simmonds basically with the odd string pieces and acoustic guitar added.
'The Voyeur (I Like To Watch)' is a pun directed at the expanding force of media where more and more is available on the TV screen. Everything is for sale at any cost for a short burst of fame and played to funky, thumping upbeat music. 'Family Business' brings out the horror of domestic violence and how it is so often kept a secret even though it really isn't. Many see and notice but rarely interfere. The music mid-paced and unsettling, a perfect fit for the equally unsettling story. 'Cliche' is another love song although this time he sings about what has been lost. It was written as a consequence of Fish catching his wife cheating with a good friend of his, well former good friend. This brilliant debut ends with 'View From A Hill' and Fish is again having a go at the materialistic world at large but it's also directed towards the music industry, a line of business Fish detested.
Fish got his solo career off to a great start with 'Vigil In A Wilderness Of Mirrors'. The music is great and it sold well despite a mishap. Both the Scotsman and his former band had their new albums ready at the same and since they were on the same label, EMI talked the singer into pushing back his release so they wouldn't cancel each other out. He agreed but I don't know how much this affected the sales of his debut. Regardless, he created a brilliant album which people took to heart and it has stood the test of time. Personally I still hold it in high regard in his vast solo discography.
-Swedebeast
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