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Fish: Vigil in the Wilderness of Mirrors

 A l b u m   D e t a i l s


Artist: Fish
Title: Vigil in the Wilderness of Mirrors
Released: 1990.01.29
Label: EMI Records
Time: 51:20
Producer(s): John Kelly
Appears with: Marillion
Category: Pop/Rock
Rating: ********** (10/10)
Media type: CD
Purchase date:  1995
Price in €: 12,99
Web address: www.fishheadsclub.com











 S o n g s ,   T r a c k s


[1] Vigil (D.W.Dick/M.Simmonds) - 8:43
[2] Big Wedge (D.W.Dick/M.Simmonds) - 5:19
[3] State Of Mind (D.W.Dick/M.Simmonds/H.Lindes) - 4:42
[4] The Company (D.W.Dick/M.Simmonds) - 4:04
[5] A Gentleman's Excuse Me (D.W.Dick/M.Simmonds) - 4:15
[6] The Voyeur [I Like To Watch] (D.W.Dick/M.Simmonds) - 4:42
[7] Family Business (D.W.Dick/M.Simmonds/H.Lindes) - 5:14
[8] View From The Hill (D.W.Dick/J.Gers) - 6:38
[9] Cliché (D.W.Dick/M.Simmonds/H.Lindes) - 7:01
 

 A r t i s t s ,   P e r s o n n e l


FISH (aka. Derek William Dick) - Lead Vocals, Illustration Concept

JOHN KEEBLE - Drums on [3]
MARK BRZEZICKI - Drums on [1,2,4,6,7,8,9]
JOHN GIBLIN - Bass on [1,2,3,4,6,7,8,9]
HAL LINDES - Pipe, Human Whistle on [1,2,3,4,5,7]
MICKEY SIMMONDS - Keyboards
FRANK USHER - Guitar on [1,2,3,4,6,7,9]
LOUIS JARDIM - Percussion on [2,3,4,6,9]
JANICK GERS - Guitars on [8]
DAVY SPILLANE - Pipes & Whistles on [1]
PHIL CUNNINGHAM - Whistle, Bodhran & Accordian on [4]
KICK HORNS (Lorimer, Sanders, Clarke, Spong) - Brass on [2]
ALY BAIN - Violin on [4]
GAVIN WRIGHT - Violin on [4]

CAROL KENYON - Backing Vocals on [2,3,6,7,9]
TESSA NILES - Backing Vocals on [2,3,6,7,9]

JOHN KELLY - Engineer
AL STORE - Assistant Engineer
MARK WILKINSON - Illustration
RUSSEL WALKER - Design
CONEYL JAY - Photography
 

 C o m m e n t s ,   N o t e s


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

1989 CD Import 2202
1999 CD Roadrunner 8687
1998 CD EMI 93634

All tracks published by Fishy Music Ltd/Hit & Run (Publishing) Ltd except State Of Mind, Family Business and Cliché Fishy Music Ltd/Hit & Run (Publishing) Ltd/Copyright Control.

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.
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.
The copyright in this sound recording is owned by EMI Records Ltd.
EMI Records Ltd.



The former lead singer of Marillion, Fish, has released a defiant debut release with Vigil In the Wilderness of Mirrors. Fish uses incredible imagery and poignant lyrics on this album. Vigil takes off where Marillion's Misplaced Childhood left off. He seems to enjoy a much freer feeling on Vigil. He is on his own on this one, and pulls it off. All nine songs on Vigil are outstanding. Particular ones to take notice of are "A Gentleman's Excuse Me," "State of Mind," and "Big Wedge." Fish's Vigil In the Wilderness of Mirrors is a step in the right direction for his solo career.

Tina Mrazik, 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



Nachdem Derek William Dick alias Fish einige hervorragende Alben mit den Neo-Progrockern Marillion veröffentlicht hatte -- am empfehlenswertesten sind Script For A Jester's Tear und Fugazi -- stieg er '88 aus und konzentrierte sich fortan auf seine Solokarriere. Sein erster Alleingang Vigil In A Wilderness Of Mirrors, an dem fast ausschließlich völlig unbekannte Studiomusiker beteiligt sind, verströmt durchaus eine ähnliche Magie wie die letzten Marillion-Alben, ist jedoch deutlich simpler und kompakter gestrickt als die Werke der Herren Rothery & Co. Fishs einzigartige Stimme steht deutlicher im Vordergrund, die Melodielinien übertünchen mehr als einmal die hervorragende Performance der Instrumentalisten. Unter Fish-Fans gilt Vigil In A Wilderness Of Mirrors gemeinhin als sein bestes Album, was vor allem daran liegt, dass die Kompositionen durch die Bank ein extrem hohes Niveau haben.

Michael Rensen, Amazon.de



A classic by now, this album has been digitally remastered abd rereleased with addition of five tracks that were available on the singles released on this album, and that are now made available through this release. A later version of Internal Exile was to find its way to the listener through the next album. The release coincides with the news that Fish has financial troubles because of the last tour. The rerelease features an account by Fish of the period leading up to and including the recording of Vigil including some nice details such as the fact that the lyrics of Family Business was meant for the song that later became Berlin on Seasons End, and the fact that State Of Mind was initiated by the hearing of Oliver North. After the long, dramatic and epic Vigil we come to the all-out-horn-song, Big Wedge. The lyrics and the cover of the single leave no secrets: this is a song containing quite a lot of criticism on the American way of life. The view is a little overdrawn but maybe this is necessary to get the right effect. State Of Mind is a quieter song, but not less critical. Lyrically Fish is pleading again, as in Vigil, asking for friendship, but seeing only conspiracies. The Company is a remarkable song, being both a drinking song, containing a folky jig and even a slight classical edge. Remarkable in such a short period and still sounding like a whole. The string arrangement on the romantic Gentleman's Excuse Me makes it into a flowing, melodic track on which the vocals of Fish stand up front. It is quite possible to like all previous tracks directly, but I think The Voyeur takes some getting used to. The song is up-tempo with plenty of variation, with slightly deranged (or is this the norm these days?) tv-mad protagonists being the subject and giving Fish room to spew his biting criticism. All on the form of a claustrophobic rock song. Family Business is about abuse and incest with an accent on the role of the neighbour, questioning his role, but more than this poses the question what the role should be. Where does interfering become meddling? The song is a desperate one with melodic guitarsolo's and lots of organ and on the whole one of the better songs on the album. View From The Hill was a song I liked quite a lot, but which was omitted from the tour. Still, since the Hill is an important motive on this album (see Family Business for instance and the complete artwork). The song is about people selling out. I remember my impression at the time was that the protagonist was a drug abuser, who was sold the View From The Hill. The best song on the album is the long love song Cliche'. Far better than Kayleigh this is a moving song with some fantastic spaceous, searing guitarwork and a great moving chorus (especially the additions on backing vocals accentuate it well). The bonus tracks are clearly of less quality than the tracks on the original Vigil. Jack And Jill is a nice track with references to the Hill. The contrast between the soft verses and the bombastic chorus is striking with a typical fast synth solo in the middle. Internal Exile was recorded for the Vigil album but dubbed unsuited. With an album as Vigil, being rather moody lyrically and also not very danceable musically, it would have been an ugly ducking. The music on this song can be easily compared to a band such as Tempest. The demo version of The Company reveals quite a few distinctions. The sound isn't as good of course, but also the version of the album is more energetic. This track by the way can be found on the Company single, which was only available in Germany (shops in Holland also had them), but this album does not contain the other tracks on this CD single: the live versions of Family Business and Punch And Judy. A Gentleman's Excuse Me is played without strings with piano and acoustic guitar. The song is more intimate in this way and imo a good alternative for the album version. Whiplash is a rather strange track and well suited as a B-side. The song is based on a ride Fish and with some Fred guy who seems to drive rather dangerously. The song is actually a blues. Listening to this album seems a meeting with an old friend and it will not surprise you when I say this is an album for everyone (some exceptions are possible), but if you are into any kind of melodic music, this should be a worthwhile addition to your collection. The bonus tracks are nice for completists, but they are not absolutely necessary Fish tracks. Maybe some more albums of Fish will be rereleased and I think many would like a song like Black Canal and Carnival Man to be added to a CD album if that may be possible. Fortunately some attention has been paid to this rerelease making it a nice package with some interesting info added.

© Jurriaan Hage



I have one major problem with this album and that it's not a concept album. I have enjoyed all three of the Fish fronted Marillion albums mainly because each one told a story. Each album contained long lumbering tracks, full of genius lyrical imagery and complex metaphors. The band cried out at any opportunity that they were not a singles band and that they genuinely had something to say to those who listened and pondered over their works. Vigil in a Wilderness of Mirrors however goes in completely the opposite direction and delivers a whole stream of songs which, whilst being finely crafted, don't add together to give the meat of a former Marillion album. It might sound as though I'm giving this album a real slating but I'm not. Like Roger Waters in Pink Floyd, I was a huge fan of Fish when he fronted Marillion. However, whereas Waters went from strength to strength as a solo artist, Fish has lost just a tiny bit of credibility. Vigil is actually a very very good album, despite it being split up into separate, seemingly unrelated songs. But because of each song's length I don't think that Fish has much time to really get to grips with what he's trying to say and this is a real shame as the guy is (was?) an amazingly talented writer. Sure, he has something to say still, such his former friends' and record company's betrayal in The Company and the joke that is American evangelism in Big Wedge along with a stab at his own personal politics in The Voyeur and in Vigil. The best song by far however is Family Business, which talks about an abusive husband and father. He also include two love songs, which again is a bit of a departure, in the form of A Gentleman's Excuse Me and Cliché. All in all not a bad album but something which could have been better considering Fish's earlier and much hailed successes. It has some great songs, but unfortunately a Marillion album it ain't.

Paul Naylor



"Wilderness of mirrors" was a term used by Peter Wright, a former MI5 agent, in his controversial biography. Spy Catcher which he used to describe the immense distrust that people in the intelligence service had for each other.

Trivia



Fish released this album one year after his departure from Marillion. The album followed the release of the first Fish-single ever, State of mind, in 1989. During the work with the album, Fish cooperated with several well-known men in the musicbusiness and it is a high-class debut for the former Marillion frontman. The remastered version of this album is under review here, it sounds a bit better than the original album (but that's the idea with a remaster :) ain't it?) and some bonus songs have been added as well (two b-sides from the maxisingles, two demo-versions and one song written in this period but not included on the original version of this album. It is of course Internal exile, the titlesong of Fish-album #2 that I'm talking about, here we get the single version) to give the listener plenty of music for the money spent. The music is in some ways a great step away from the sound of Marillion, Fish proposed these changes himself when he was still in the line-up but got no response from the others. His lyrics and songideas didn't appeal the others who had their eyes set on America.. This dilemma and a lot of other shines through in the lyrics as a last remark to his former band... The album's partly brilliant, as in the title song Vigil in a wilderness of mirrors, A view from the hill and The Company. In short, it is a quality album that deserves the four stars without a doubt.
  

 L y r i c s


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)


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


"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.


"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.


"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.


"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.


"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?


"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.


"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.

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