@ALBUM: Vigil In A Wilderness of Mirrors --- Credits For _Vigil_In_A_Wilderness_Of Mirrors_ --- TRACK 1: Drums: Mark Brzezicki, Bass: John Giblin, Keyboards: Mickey Simmonds, Guitars: Frank Usher, Hal Lindes, Pipes and Whistle: Davy Spillane, Whistle: Phil Cunningham. Written by Dick/Simmonds, P 1990.\\ TRACK 2: Drums: Mark Brzezicki, Bass: John Giblin, Keyboards: Mickey Simmonds, Guitars: Frank Usher, Hal Lindes, Backing Vocals: Carol Kenyon, Tessa Niles, Percussion: Luis Jardim, Brass: Kick Horns. Written by Dick/Simmonds, Brass arrangement by Kick Horns (Lorimer, Sanders, Clarke, Spong), P 1989.\\ TRACK 3: Drums: John Keeble (appears courtesy of CBS Records), Bass: John Giblin, Keyboards: Mickey Simmonds, Guitars: Frank Usher, Hal Lindes, Backing Vocals: Carol Kenyon, Percussion: Luis Jardim. Written by Dick/Simmond/ Lindes, P 1989.\\ TRACK 4: Drums: Mark Brzezicki, Bass: John Giblin, Keyboards: Mickey Simmonds, Guitars: Frank Usher, Hal Lindes, Percussion: Luis Jardim, String: Orchestrated by Gavin Wright, Bodhran, Accordian \& Whistle: Phil Cunningham, Violin: Aly Bain, Gavin Wright. Written by Dick/Simmonds. Arranged by Simmonds/Dick, Strings arranged by Simmonds, P 1990.\\ TRACK 5: Keyboards: Mickey Simmonds, Guitars: Hal Lindes. Written by Dick/Simmonds, Strings and Horns: Orchestrated by Gavin Wright, P 1990.\\ TRACK 6: Drums: Mark Brzezicki, Bass: John Giblin, Keyboards: Mickey Simmonds, Guitar: Frank Usher, Backing Vocals: Carol Kenyon, Tessa Niles, Percussion: Luis Jardim. Written by Dick/Simmonds, P 1989.\\ TRACK 7: Drums: Mark Brzezicki, Bass: John Giblin, Keyboards: Mickey Simmonds, Guitars: Frank Usher, Hal Lindes, Backing Vocals: Carol Kenyon, Tessa Niles. Written by Dick/Simmonds/Lindes. Arranged by Simmonds/Dick/Gers, P 1990.\\ TRACK 8: Drums: Mark Brzezicki, Bass: John Giblin, Keyboards: Mickey Simmonds, Guitar: Janick Gers. Written by Dick/Gers, P 1990.\\ TRACK 9: Drums: Mark Brzezicki, Bass: John Giblin, Keyboards: Mickey Simmonds, Guitar: Frank Usher, Backing Vocals: Carol Kenyon, Tessa Niles, Percussion: Luis Jardim. Written by Dick/Simmonds/Lindes, P 1990. Arranged by Simmonds/Dick.\\ All tracks published by Fishy Music Ltd/Hit \& Run(Publishing)Ltd except tracks 3, 7 and 9 Fishy Music Ltd/Hit \& Run(Publishing)Ltd/Copyright Control. Lyrics reproduced by kind permission. Engineered and Produced by John Kelly Assistant Engineer Al Store (The Court Jester). Thanks to KLARK TEKNIK, HARMAN AUDIO, PEAVEY, AKAI and SOUND CONTROL EDINBURGH for equipment supplied. Thanks to ERIC MILLER, KEITH INVERARITY, ALISDAIR GOW, THE ROYAL BANK OF SCOTLAND, DALKEITH, HIBERNIAN F.C., KEITH SLAUGHTER, JOHNNY AND MARTIN JENKINSON, JIMMY DUBICKAS, DAVID AND KENNY DUNN, MITCH, DOUGIE, JIMMY DUNN, RENNIE THOMSON, MURDIE, WILLIE GOODALL and all the boys who helped me build the house on the hill, BRUCE WATSON, JOHN KEEBLE, ALISON JONES, NEIL HAY, JANICK GERS, HAL LINDES, CHRIS KIMSEY, JUDY TOTTEN. Special thanks to my wife TAMARA, MUM AND DAD AND SISTER LAURA, JOHN AND LORAINE CAVANAGH, MIKEY AND SARAH SIMMONDS, ANDY AND ASHFIELD, STEVE ROBISON, TOOTS HURRY, ROBERT FLURY, FRANK USHER, JOHN KELLY, AL STONE, ROBIN BOULT, MARK AND STEVE BRZEZICKI, MARK WILKINSON, STEF JEFFERY, TONY SMITH, JOHN CRAWLEY, HOWARD JONES, HOWARD RUBIN, ALAN STIRLING, FRED CUCCHI, ALL AT WATERSIDE BISTRO, ROBBIE THE PICT, NICK GATFIELD, MALCOLM HILL, BRIAN MUNNS, AMANDA RABBS, AND ALL AT E.M.I. and to everyone who played on and contributed to this album, for standing by me and giving me their hope, love, encouragement, support, and faith, without which i would never have been able to climb this high. Thanks to MARILLION for showing me the hill. Illustration by MARK WILKINSON from A Concept by FISH. Design by RUSSEL WALKER, Photographer CONEYL JAY, with thanks to THE SULLIVANS and many others for patiently posing TV Personalities from 'The Golden Age' by JEAN-AUGUSTE-DOMINIQUE INGRES. FISH Information Service 'The Company', P.O. Box 3, Haddington, EH41 3TA. This album is dedicated to WILLIAM JEFFREY, who never had a chance to see the hill. @SONG: Vigil Listen to me just hear me out, if I could have your attention just quieten down for a voice in the crowd. I get so confused I don't understand I know you feel the same way you've always wanted to say but you don't get the chance, just a voice in the crowd. I don't know the score anymore; it's not clear anymore I can't tell right from wrong anymore; I just don't understand. I was sitting here thinking of exchanging a new world for old like changing channels on the tv, or the dirt we stand in to gold. When I was young, my father told me just the bad guys die at the time just a little white lie it was one of the first but it hurt me the most and the truth stung like tears in my eye that even the good guys must die there's no reasoning no crimes and I never knew why even now it still makes me cry. If there's somebody up there could they throw me down a line just a little helping hand just a little understanding just some answers to the questions that surround me now. If there's somebody up there could they throw me down a line just a little guiding light to tell wrong from right just some answers to the questions that I'm asking you I keep a vigil in a wilderness of mirrors where nothing here is ever what it seems you stand so close but you never understand it for all that we see is not what it seems, am I blind? And you sit there and talk revolution but can you tell me just who's in command? when you tell me the forces we are fighting then I'll gladly join and make plans but for now only our t-shirts cry freedom and our voices are gagged by our greed our minds are harnessed by knowledge by the hill and the will to succeed and if that's not what you believe would you let me know I'm not standing alone that I'm not just a voice in the crowd If there's somebody up there could they throw me down a line just a little helping hand just a little understanding just a little understanding to the questions that I'm asking you If there's somebody up there could they throw me down a line just a little guiding light to tell wrong from right just some answers to the questions that I'm asking you I'll keep a vigil in a wilderness of mirrors where nothing here is ever what it seems I'm scared to shout in case I draw attention from the powers that preside over our minds and our lives when they find what I want is the deadliest weapon, that is truth Day by day it's getting louder and day by day it's getting stronger but when I can't scream no more and I need reassurance, I listen to the crowd. (And the boy stood, and stared at the hill. And the hill stared back) @SONG: Big Wedge I found a new religion yesterday, I'd just cleared immigration JFK a priest got in a cadillac, the shoe shine boy sang gospel as God and his accountants drove away. You'll see him coast to coast on live tv, in a stadium rocked by Satan just the night before the collection from the faithful is tax free it'll pay for his presidential campaign and his yacht And we all bow down, we bow down to the big wedge and we'll buy ourselves some heaven on earth we sell our souls, sell our souls for big wedge are we selling out tomorrow for today? A surgeon checks your plastic on the telephone a casio concerto entertains you while you hold your credit rating's good for a Madonna or a Bardot a Dali or a Picasso for his wall. You're looking good, looking good with big wedge are you holding back tomorrow for today? they're driving in, driving in with big wedge are we selling out tomorrow for today? You'll sell the ground beneath your feet you'll sell your oil, you'll sell your trees you ideals and integrity your culture and your history your children into slavery to labour in their factories your mother and your family you'll sell the world eventually. The IMF and CIA; there's just no difference they're all the same! It just depends on what's your point of view America, America the big wedge and they're buying up your tomorrow with promises the promises of big wedge and they'll break them like your hearts another day when you find out that you've left it just too late and find that you're the only one to blame that you sold out your tomorrow for Big Wedge @SONG: "State of Mind" I don't trust the government, I don't trust alternatives. It's not that I'm paranoid, it's just thats the way it is. Every day I hear a little scream inside. Every day I find it's gettin louder. I just want to reach out and touch someone, 'Cause I find I need a friend in this dark hour. We the people are gettin' tired of your lies. We the people now believe that it's time. We're demanding our rights to the answers. We'll elect a president to a state of mind. I trust in conspiracies, in the power of the military. In this wilderness of mirrors here, not even my speech is free. Every day I hear a little scream inside. Everyday I find it's gettin' louder. I just want to reach out and touch someone. 'Cause I find I need a friend in this dark hour. We the people want it straight for a change. 'Cause we the people are gettin of your games. If you insult us with cheap propaganda, We'll elect a president to a state of mind. Every day I hear a little scream inside. Every day I find it's gettin louder. I just want to reach out and touch someone, 'Cause I find I need a friend in this dark hour. When we the people have our backs to the wall, do we the people then assume control? When it's too late to stop our own execution, when we're faced with the final solution, You can't elect a dream revolution when you've a bullet in the back of your mind. It's just a state of mind. @SONG: "The Company" Where beggars take cheques and children steal credit cards from the pockets of wrecks in the middle of the road. I came to in my future and that was just yesterday, unsure of my past and that's a knot in my gut. You buy me a drink then you think that you've got the right to crawl in my head and rifle my soul. You tell me I'm free and want me to compromise to sell out my dreams you say you'll make it worthwhile. Oh, boys would you drink to me now here on the hill, half way up, half way down You tell me I'm drunk the you sit back and smug a while convinced that you're right that you're still in command of your senses. I laugh at your superior attitude your insincere plattitudes make me throw up. Oh, boys would you drink to me now here on the hill, half way up, half way down Oh, boys would you drink to me now here on the hill, half way up, half way down Oh for the company born to the company live for the company until I die. The sooner you realise that I'm perfectly happy if I'm left to decide the company I choose The company I choose is solidly singular totally trustworthy, straight and sincere polished, experienced, witty and charming so why don't you push off, this company's my own. Oh, boys would you drink to me now here on the hill, half way up, half way down Oh, boys would you drink to me now here on the hill, half way up, half way down Oh for the company, dream of the company live for the company until I die. Oh for the company, dream of the company drink to the company until we die until we die until we die. @SONG: "A Gentleman's Excuse Me" Do you still keep paper flowers in the bottom drawer with your Belgian lace taking them out every year to watch the colors fade away? Do you still believe in fairy tales, in battlements of shining castles safe from the dragons that lie beneath the hill? Are you still a Russian princess rescued by a gypsy dancer to anyone who'll listen is that a story you tell? You live a life of fantasy, your diary romantic fiction. Can't you see it's hard for me, can you see what I am trying to say? It's a gentleman's excuse me so I'll take on step to the side. Can you get it in your head I'm tired of dancing? For every one step forward we're taking two steps back. Can you get it in your head I'm tired of dancing? I know you still like old fashioned waltzes your reflection in the mirror that you flirt with as you glide across the floor but if I told you the music's over would you want to hear that your dance card is empty that there's no-one really there? Do you still believe in Santa Claus, that there's a millionaire looking at your front door with a key to a life that you'd never understand? All I have to offer is the love that I have, it's freely given you'll see its value when you see what I've tried to say. It's a gentleman's excuse me so I'll take on step to the side. Can you get it in your head I'm tired of dancing? For every one step forward I'm taking two steps back. Can you get it in your head that from this one step forward there's no turning back? Can you get it in your head I'm tired of dancing? We're finished dancing. @SONG: "The Voyeur (I Like to Watch)" Track down a satellite, beam in the action, life lies bleeding live in your living room, our senses on remote control overkill and overload. >From Lockerbie to Lebanon's getting closer every day Hollywood to Hungerford's an impression away. I like to watch implausible pledges of polite politicians. I like to watch them even more than my video nasties. I like to watch. The bleeding of a bimbo, a backstabbing beauty queen titillating tabloids trigger off a wet dream into action a fatal attraction, private lives are up for auction. A cupboard full of skeletons are coming out to play. I like to watch disasters in replay and rerun in slo mo. I like to watch on the spot interviews kicking in front doors. I like to watch. To watch as my face is reflected in blank tv screens the programmes are over, I like to pretend that that's me up there making headlines, camera closeups catching my right side I don't care if it's only a moment as long as it's peaktime, just as long as all of my friends and family see me, the world will know my name - Come on down I like to watch psychologists speculate, analysts analise. I like to watch my methods and motives, the topic of talk shows. I like to watch. Switch off, turn on. @SONG: "Family Business" I heard a battle raging on the other side of the wall I buried my head in a pillow and tried to ignore it all. Every night when I hear you I dream of breaking down your door an avenging knight in shining armour, to rescue you from it all. >From this family business, family business how long does it stay, family business. It's nobody's business, this family business, but tell me how long it remains family business. When I see you at the supermarket, sunglasses in the shade averting your eyes from those staring questions, how were those bruises made? The children clutch tight to your legs, they've got so much they want to say but daddy's sitting home, drunk again so they bite their lips and pray cos daddy don't like people poking in his private affairs and if anyone asks from the social, well, you tripped and fell down the stairs. It's family business, keep it in the family business. Can you tell me how long it remains family business? It's nobody's business, this family business. But tell me how long it should stay family business. She's waiting at the bus stop at the bottom of the hill she know's she'll never catch it, she knows she never will. The kids are all she lives for, she's got nothing left to lose, nowhere to escape to, but she knows she's got to move. Cos when daddy tucks the kids in, it's taking longer every night. It's family business, keep it in the family business. Can you tell me how long it reamins family business? It's nobody's business, this family business. But tell me how long it should stay family business. So I become an accessory and I don't have an alibi to the victim on my doorstep the only way I can justify. It's family business, family business. How long do we keep it family business? @SONG: "View From the Hill" You sit and think that everything is coming up roses but you can't see the weeds that entangle your feet. You can't see the wood for the trees cos the forest is burning and you say it's the smoke in your eyes that's making you cry. They sold you a view from the hill. They told you that the view from the hill would be further than you'd ever seen before. They sold you a view from the hill. They sold you a view from the hill. You were a dancer and a chancer, a poet and a fool to the royalty of mayhem you were breaking all the rules. Your decadence outstanding, your hopes flying high. One eye looking over your shoulder, one on the hill. You used to say you were scared of heights - you said you got dizzy. You said you didn't like your feet being to high off the ground, but they said that up there you'd find the air would be clearer promised you more space to move and more room to breath. They sold you a view from the hill. They told you that the view from the hill would be further than you'd ever seen before. You were holding out forever - thought they'd never turn your mind. Your ideals they were higher than you ever could have climbed. We thought that they couldn't buy you - the price would be too high that the riches there on offer they just wouldn't turn your eyes. But your conscience it was locked up in the prisons of your schemes your judgement it was blinded by your visions and your dreams praying and hoping that the view from the hill is wider than you've ever seen before. For the view from the hill we held our heads so high (smell the roses) All the loved ones that you lied to are strangers left behind. All the ones that really mattered well you stood on as you climbed. You were holding out forever for your fathers and your peers holding out for everyone that ever walked in here. The edge was inside and you rode it all the way. You were playing the games that you learned yesterday hanging around like a fool with a name You are holding your place for the view, the view from the hill. They sold you the view from the hill. Look it all for a view from the hill and you find the views no further than you've seen before. They sold you the view from the hill. And you stood and took it all from the view from the hill. It's simply coming up roses. @SONG: "Cliche" I've got a reputation of being a man with a gift of words a romantic poetic type or so they say but I find it hard to express the way I feel about you without getting involved with the old cliches. In the old cliches, it's the old cliches. This song's begun so many times but never in a way that you wont consider to be an old cliche. I want to say that I need you, I miss you when you're away. And how it seemed like fate - o here we go - the same old cliches. It's the same old cliches. It's not that I'm embarrassed or shy, well, you know me too well but I want to make this song special in a way that you can tell. That it's solely for you and nobody else for my best friend, my lover, when I need help - cliche - cliche? Everything I want to say to you is wrapped up in an old cliche I'd waited so long to find you, I'd been through the heartbreak and pain, but of course you already know that cos you've been throught the same. That's why I'm trying to say with my deepest sincerity that's why I'm finding it comes down to the basic simplicities the best way is with an old cliche it's simply the best way is with an old cliche always the best way is with an old cliche I'll leave it to the best way, it's an old cliche I love you.