CD Original (51:18)

1. Vigil (08:43)
2. Big Wedge (05:19)
3. State Of Mind (04:42)
4. The Company (04:04)
5. A Gentleman's Excuse Me (04:15)
6. The Voyeur (I Like To Watch) (04:42)
7. Family Business (05:14)
8. View From The Hill (06:38)
9. Cliché (07:01)

CD Remaster (73:30)

1. Vigil (08:46)
2. Big Wedge (05:25)
3. State Of Mind (04:45)
4. The Company (04:07)
5. A Gentleman's Excuse Me (04:20)
6. The Voyeur (I Like To Watch) (04:45)
7. Family Business (05:22)
8. View From The Hill (06:39)
9. Cliché (07:06)
10. Jack And Jill (04:28)
11. Internal Exile (demo) (04:52)
12. The Company (demo) (04:29)
13. A Gentleman's Excuse Me (demo) (03:55)
14. Whiplash (04:21)

Singles from this album

Information

Credits (Remaster):

SIDE 1

TRACK 1: Drums - Mark Brzezicki, Bass - John Giblin, Keyboards - Mickey Simmonds, Guitars - Frank Usher/Hal Lindes, Pipes & Whistles - 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 Arrangement - Kick Horns (Lorimer, Sanders, Clarke, Spong), written by Dick/Simmonds 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/Simmonds/Lindes P 1989.
TRACK 4: Drums - Mark Brzezicki, Bass - John Giblin, Keyboards - Mickey Simmonds, Guitars - Frank Usher/Hal Lindes, Percussion - Luis Jardim, Strings orchestrated by Gavin Wright, Bodhran, Accordian & Whistle - Phil Cunningham, Violins - Aly Bain & Gavin Wright, written by Dick/Simmonds. Arranged by Simmonds/Dick. Strings arranged by Simmonds. P 1990
SIDE 2

TRACK 1: Keyboards - Mickey Simmonds, Guitars - Hal Lindes, written by Dick/Simmonds, Strings and Horns orchestrated by Gavin Wright. P 1990
TRACK 2: 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 P 1990.
TRACK 3: Drums - Mark Brzezicki, Bass - John Giblin, Keyboards - Mickey Simmonds, Guitars - Janick Gers, written by Dick/Gers. Arranged by Simmonds/Dick/Gers P 1990.
TRACK 4: Drums - Mark Brzezicki, Bass - John Giblin, Keyboards - Mickey Simmonds, Guitars - Frank Usher, Backing Vocals - Carol Kenyon/Tessa Niles, Percussion - Luis Jardim, written by Dick/Simmonds/Lindes P 1990

All tracks published by Fishy Music Ltd/Hit & Run (Publishing) Ltd except Side 1 track 3 and Side 2 tracks 2 and 4 Fishy Music Ltd/Hit & Run (Publishing) Ltd/EMI Virgin Music Ltd.
Engineered and Produced by John Kelly, assistant engineer Al Store (The Court Jester). Lyrics reproduced by kind permission. RE-MASTERED BY CALUM MALCOLM AT MILLENIUM RECORDING STUDIOS 1997.
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, MICKEY AND SARAH SIMMONDS, ANDY AND ASH FIELD, STEVE ROBINSON, 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. New Graphic Design 1997 by NEIL DALGLEISH.
Special thanks to SHONA FORD, JANE FINDLAY & JEZ LAWSON who were all involved in the remastering of this album. LUCY JORDACHE at EMI for her help and E.M.I. Records for granting the Licence.
FISH Information Service 'The Company', P.O. Box 3, Haddington, EH41 3TA.
Website: http://www.livjm.ac.uk/fish E-mail: fish@dickbros.powernet-int.co.uk
This album is dedicated to WILLIAM JEFFREY, who never had a chance to see the hill and is also in memory of NEIL HAY, BRIAN MUNNS and ANDY FIELD.

EMI Records Ltd, released 29th January 1990

Dick Bros Record Company DDICK28CD (5 034349 000044): Remaster + 5 bonus tracks - Released 18th Dec 1997
Roadrunner RR 8687 2 (016861868727): Reissue of the remastered CD - Released 28th Oct 1998
Chocolate Frog Record Company: Reissue of the remastered CD - Released 16 sept 2002
Snapper Records: Reissue of the remastered CD in digipack format SDPCD215 - Released 17 July 2006

EMI Records Ltd, released 29th January 1990

LP

UK : EMD 1015

EUR: 064-793634-1

12" Picture Disc
UK: EMPD 1015 - Contains a Poster

Cassette
UK : TCEMD 1015
EUR: 264-7 93634 4

CD
UK : CDEMD 1015
EUR: CDP 7 93634 2 (0 077779 363421)
JAP: TOCP 6103

CD Promo
JAP: TOCP 6103 (Normal edition, with special wrapping and red printing ('sample not for sale')

CD Remaster
UK : DDICK28CD (5 034349 000044) Released 18th Dec 1997 by Dick Bros Record Co Ltd under licence from EMI Records Ltd
Eur: (Roadrunner) RR 8687 2 (016861868727) - Released 28th Oct 1998

World: (Chocolate Frog - Voiceprint) CFVP009CD - Released Sep 16, 2002

World: (Snapper Records) SDPCD215 - Released 17 July 2006

album review:(All Music Guide)

Following Fish's acrimonious split with Marillion in early 1988, wheels were set in motion for a full-on U.K. press inquisition. Pitting band vs. singer in a classic tabloid war of words, mud was flung, lawyers were hired, lawsuits were filed, and Marillion quickly moved to hire new vocalist Steve Hogarth. Soon thereafter, the band released the excellent Season's End to much critical and commercial acclaim. Also important to note, from a fan's point of view, it's important to keep in mind that any time a band of Marillion's stature splinters into two factions, anticipation for new product from both sides is always enormous. And much like the Van Halen/David Lee Roth divorce, each respective singer sought out counterparts/collaborators that would at least equal or better their band mates (not an easy feat by any stretch of the imagination). But, unlike Roth's "let's pick the best session cats money can buy" campaign, Fish had other ideas. Taking baby steps, Derek Dick (aka Fish) took a more organic approach in enlisting the services of keyboard man Mickey Simmonds to help with the creative process. But unlike David Lee Roth, Fish already had a few ideas kicking around. One of these included the genesis for "Family Business" (originally intended as the music bed for a track that would later be called "Berlin" on Season's End). Also under wraps was as cut titled "The Company" written at the request of producer Bob Ezrin after a meeting at David Gilmour's house just prior to the post-Clutching at Straws writing sessions (which would put the final nail in the Fish-led Marillion coffin). As tracking for Vigil got underway, Fish handpicked Big Country drummer Mark Brzezicki and Dire Straits guitarist Hal Lindes to join his team. Vigil would also feature an array of special guests including future Iron Maiden guitarist Janick Gers, responsible for the main riffage on "View from a Hill," and backing vocalist Tessa Niles (who also appeared on Clutching at Straws). Impeccably produced by John Kelly, Vigil in a Wilderness of Mirrors is not only a worthy debut, it's also Fish's best solo effort. One of Vigil's greatest strengths is that it not only features epics like the album's title track and the magnificent "A Gentleman's Excuse Me," it also showcases some super-commercial (not cheesy) material like "Big Wedge" and "The Voyeur (I like to Watch)." It's also no surprise that the more Marillion-sounding songs turn out to be the album's cornerstones. First, there's the moving "View From a Hill," and then later, album closer "Cliché." "Cliché" is not only one of Fish's greatest love songs, it's also one of his most emotional. Although never reaching the depths of despair of Marillion classics like "Fugazy" or "Script for Jesters Tear," it's equally compelling. As Fish veers in and out of Pink Floyd territory on the aforementioned tune, one thing becomes clear as day. Artistically, it would be quasi impossible to top Vigil. But more drastic, still, from this point forward, Fish would be fighting for his life to retain his commercial statues. As his financial problems spiraled out of control, so did his popularity. As Marillion took the more commercial path of the two acts, Fish's voice and passion would be sorely missed. And if there was ever any doubt as to how integral Derek Dick was to Marillion's sound (the lyrical content goes without saying), Vigil provides all the proof listeners will ever need. Side note, the remastered Roadrunner version of the album features five additional bonus tracks. ~ John Franck , All Music Guide