Fish - Vigil In A Wilderness Of Mirrors

1990 | NEO - PROGRESSIVE ROCK | POP ROCK

Track Listing

 

1. Vigil In A Wilderness Of Mirrors ✔
2. Big Wedge ✔
3. State Of Mind
4. The Company ✔
5. A Gentleman's Excuse Me ✔
6. The Voyeur (I Like To Watch)

7. Family Business

8. View From The Hill

9. Cliché

✔ indicates track pick

Rating

 

★ ★ ★ ★ ★

Review 

The 80's were truly the golden age of neo-progressive rock. Artists such as Pendragon, Pallas and Twelfth Night were finding moderate amounts of success in album sales but without a shadow of a doubt, Marillion were clearly reigning supreme in the genre. Their popularity peaked with their third studio album, 'Misplaced Childhood', a commercial and musical success which can mostly be attributed to guitar led ballad 'Kayleigh' and piano led ballad 'Lavender'. But it couldn't last; due to differences between charismatic frontman Derek W. Dick, aka 'Fish' and the manger, the band parted ways with the Scottish vocalist and each of them forged their separate paths. Marillion would go on to write and release many more albums over the years, however none quite finding the commercial success of 'Misplaced Childhood'. Fish meanwhile assembled his band of merry men to begin his solo career, including keyboard virtuoso Mickey Simmonds, guitarists Frank Usher and Hal Lindes along with Job Giblin on Bass and Mark Brzezicki on drums. Iron Maiden guitarist Janick Gers even contributed on one song. The result was a creation which stands still to this day as possibly the best thing Fish has ever done, a worthy contribution to neo-prog rock.

I think it's the down to earth nature of the whole affair, crossed with the diversity that made me enjoy this so much. Every song is something different and exciting; there's no formula. Things kick off with the obligatory progressive rock epic and title track, 'Vigil In A Wilderness Of Mirrors'. Lush, heavily laden synths and organs lead into the song, and after a few Pink Floyd-esque guitar licks, things really get going. The chorus comes in strong and grand, with gigantic guitar chords, and it's all filled out with an array of piano lines, trumpets, bells and another serving of that gloriously warm synth. But it never becomes too much; everything interplays so well, and I'd go as far to say that it matches some of Meatloaf's slower numbers as far as majestic symphonic rock goes. It's here when you first notice how brilliantly produced this album was; it's a very rich and full sound and this was only enhanced when it was later remastered. Next up is lead single 'Big Wedge', a big cheesy pop rock number, very upbeat and direct to the point, while 'State of Mind' also delights, with a deliciously funky bass riff. Just when you thought things couldn't get better, along comes 'The Company', with subtle folk rock influences and a chorus that you'll be humming to yourself for days. The traditional sounding folk interlude in the middle is truly inspired, and it leads on to a lush melodic string solo. 

Fish also has a softer side, aptly demonstrated in 'A Gentleman's Excuse Me' with some dainty piano work and soft crooning from the rugged Scotsman. Derek W. Dick appears very rough around the edges, with the build of a lumberjack, so it's certainly a shock to hear such a man singing about flowers and fairytales. However it's the diversity like this that really makes this album the special listen it is. Also worth a mention is what I'd consider the polar opposite of 'A Gentleman's Excuse Me', 'The View From A Hill', and with future Iron Maiden guitarist, Janick Gers, at the helm I'd expect nothing less. While some of the other tracks focus on creating a melodic backdrop for Fish to demonstrate his powerful vocal chops, this is very much a guitar driven song, with a slow acoustic buildup to a heavy hitting chorus and a rocking guitar solo in the middle. The album closes with 'Cliche', a cruisy, bluesy laid back jam. It's just the brilliant songwriting and fantastic vocal performance from Fish that make this album. Mostly when bands split and each member goes off to start a solo career, things fall a little flat, and lack in creative energy. However Fish has selected a stellar ensemble for his debut solo effort. And the result? Masterpiece.

The Musicians Are...

Derek W. 'Fish' Dick - Vocals 
Frank Usher - Guitar
Hal Lindes - Guitar
Mickey Simmonds - Keyboard, Synths
John Giblin - Bass Guitar 
Mark Brzezicki - Drums

  

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Track 2. Big Wedge

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Vienna Teng - Waking Hour

2002 | SOFT POP ROCK | ACOUSTIC

Track Listing

 

1. The Tower ✔

2. Momentum 

3. Gravity

4. Daughter

5. Between ✔

6. Say Uncle 

7. Drought ✔

8. Enough To Go By

9. Unwritten Letter No. 1

10. Eric's Song ✔
11. Soon Love Soon
12. Lullabye For A Stormy Night
13. Decade And One

✔ indicates track pick

Rating

 

★ ★ ★ ★ ★

Review 

Before I started this review I had to type out the track listing, upload the album cover, then choose what I thought were the track picks from the album. And I must say; never have I been faced with such a challenge. Even when I went back and listened to the album again from start to finish, it was a still a struggle to narrow it down to four, as this is such a brilliant album. Debut albums are a special thing; for everyone has a handful of good song ideas within them; and it's the first album where many of these surface. And this is one album overflowing with them. It's such a hard sound to describe, but so simple at the same time. Soft piano pop is probably the most appropriate terms to apply to it, but this isn't a just another Vanessa Carlton, it's more along the lines of Sarah McLachlan and even Enya dare I say it; with elements of chamber pop and even folk music thrown in. It's so much more gentle than most piano driven albums of a similar nature, so much less predictable and sounds much more suited to the world of film and television than the likes of modern pop radio.

Although Teng has gorgeous voice, it's very much her touchingly beautiful piano playing that drives this album. It's kept simple at all the time; most of the songs just feature gentle shuffling drums and sweeping piano melodies with lush strings to add to the texture. First song on the album 'The Tower' is the song for the radio if there had to be one. A catchy drum beat and piano riff kick off the song, which builds into the verse where we get the first taste of Teng's voice. Things get a bit more lively in the chorus with guitars thrown in, but it feels like it's meant to be there. That's another positive aspect of this album; it's got that real under produced sound, and it's such a raw album in that sense. It's just the music straight to your ears as played by the musicians, with no fancy effects thrown in. 'Momentum' and 'Daughter' are prime examples of this; it's just Teng and her piano. Her vocal dynamics keep things varied here; switching from a gentle whisper into soaring high hamornies. It's very much music to loose yourself in.

'Between' and 'Drought' also deserve a mention; as they are two beautiful piano driven ballads. 'Between' features acoustic guitars and tribal sounding drums, then progresses into a soaring chorus, which uses the same four chords that songwriters have been using for decades. However her warm harmonies and graceful piano work keep this formula from sounding repetive and dull; it's almost as if she pioneered it. 'Drought' is a song with a driving rhythm which fades in with a piano riff as memorable as it is haunting. It's a song for thought, that will tug at your heartstrings and bring a grown man to tears; listening to this the first time I felt like I was being serenaded by angels. Just when you've thought you've heard everything, along comes, "Enough To Go By" which is an upbeat country pop song. The album closes on a gentle note, with four delicate piano lullabies that will soothe you to sleep even when extreme insomnia strike. "Eric's Song" really stands out with heartfelt lyrics and soft vocal work; its easy to see why this is a fan favorite.

It's experiments within her genre that makes this an album that you can listen to continuously on repeat without ever tiring of it. Vienna Teng (born Cynthia Yih Shih) has a gift on the piano and on this album she's crafted thirteen stunning compositions that are guarenteed to leave you breathless. It's never going to make it to the radio for many reasons; too soft, too sad, too under produced and just too damn musically talented. However it's fairly safe to say that if falling in love had a soundtrack, with all the moments of sorrow and joy, happiness and sadness, tears and laughter, that this spectacular album would be it.  

The Musicians Are...

 

Vienna Teng - Vocals, Piano, Keyboards

Craig Wright - Drums
David Henry - Guitar, Cello, Bass
Eric Miller - Guitar, Synthesizer, Bass
Kim & Dave - Violin

  

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Track 7. Drought

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Tim Hockenberry & Tom Corwin - Mostly Dylan

2009 | SOFT POP ROCK | ACOUSTIC

Track Listing

 

1. Forever Young

2. One Too Many Mornings ✔

3. The Times They A Changin'

4. Like A Rolling Stone 

5. You're Going To Make Me Lonesome When You Go

6. Mr. Tambourine Man ✔

7. Two Steps Back

8. Boots Of Spanish Leather ✔

9. My Back Pages 

10. Flirting With Disaster
11. Rainy Day Women
12. Tomorrow Is A Long Time

✔ indicates track pick

Rating

 

★ ★ ★ ★ ☆

Review 

Cover albums are always a difficult thing. It's a fine line to tread; to bring a personal touch to the music, however without altering the original artist's vision. It's the same principle as with the remakes of movies; the last thing anybody wants to see is a scene by scene remake. And to pick Bob Dylan of all artists to cover, meant the bar was set high from the start. It was ambitious project that the two musicians set out to undertake, but the result is something truly magical. 

It was an interesting but inspired choice to have Tim Hockenberry take the role of lead vocals; his voice is a far cry from Dylan's. I first came across him through his work with The Trans-Siberian Orchestra, where his mesmerizing voice just matched so well with the piano driven ballads the Orchestra are fond of. His sound is certainly unique. Picture if you will the low gravely tones of Louis Armstrong crossed with soft crooning of Rod Stewart and you'd have a fair idea of Hockenberry's voice. It's his voice that drives this album, however the production value is also particularly good, with laid back, minimalistic drums, gentle bells, pianos and dreamy guitars. It all blends into one warm sound, that's gentle on ears and soothing for the mind. 

Many of Dylan's classics are here, and it's Hockenberry and Corwin's treatment of Dylan's signature songs that make for a real treat. Such an example is found in Dylan's definitive anthem 'Like A Rolling Stone'; it's been stripped right back and slowed down to a cruisy, mellow rock ballad. While there's so much going on in the original version, here everything's been simplified; with the guitar playing basic chords and the focus being very much on the vocals. However it's on the real slow songs where this laid back approach works best. 'Boots Of Spanish Leather' conjures up images of slow dancing under a starlit sky, with echoing guitars and drawn out vocal lines. It's at times like this where Hockenberry's in his element, working every drop of emotion out of Dylan's lyrics and exploring a wide and diverse vocal range. 

This is an album for drifting into sleep, discovering first love and watching the sun set over the hill on long summer evenings. What a true Dylan fan would think of these interpretations of Dylan's works is unsure, however since I'm not a die-hard Dylan fan myself, when I listened to this I was judging it as a creation of it's own, and not comparing to how well it interpreted the originals. The matter of fact is that it's a brilliantly soothing album, and one that I'm going to still be enjoying for many months from now.

The Musicians Are...
 

Tim Hockenberry - Vocals
Tom Corwin - Instruments
(A wide variety of musicians were
featured on this album, too
many to list here)

  

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Track 2. One Too Many Mornings

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