Musical Style and Contributing Musicians
The album covers a variety of musical styles, including progressive rock ("Vigil"), pop rock ("Big Wedge"), hard rock ("View From The Hill"), and folk music ("The Company"). As he is primarily a lyricist and not a musical composer, Fish collaborated with keyboarder Mickey Simmonds in writing all songs except "View From The Hill", which was co-written and recorded with current Iron Maiden guitarist Janick Gers. Ex-Dire Straits guitarist Hal Lindes contributed additionally to the writing of "State of Mind", "Family Business" and "Cliché". He also played guitar on most tracks, along with Frank Usher, a Fish companion from pre-Marillion times. Drums were handled by Mark Brzezicki (of Big Country), John Keeble (of Spandau Ballet, "State of Mind" only), bass by John Giblin, additional percussion by Luis Jardim, backing vocals by Tessa Niles, who had already appeared on Clutching at Straws, Marillion's last album with Fish (1987), and Carol Kenyon. Apart from these, there are performances on individual songs by The Kick Horns (brass instruments on "Big Wedge"), Davy Spillane (pipes and tin whistle on "Vigil"), Phil Cunningham) (tin whistle, bodhran, accordion on "The Company", "Internal Exile"), Aly Bain (violin on "The Company", "Internal Exile") and Gavyn Wright (credited as Gavin Wright, violin on "The Company", orchestral arrangement on "A Gentleman's Excuse Me", which was recorded with a 23-piece orchestra at Abbey Road Studios).
The band with which Fish toured the album in 1989/1990 consisted of Mickey Simmonds (keyboards), Frank Usher & Robin Boult (guitars), Mark Brzezicki (drums) and Steve Brzezicki (bass, Mark's brother).
Read more about this topic: Vigil In A Wilderness Of Mirrors
Famous quotes containing the words musical, style, contributing and/or musicians:
“That vast moth-eaten musical brocade
Created to pretend we never die ...”
—Philip Larkin (1922–1986)
“One who has given up any hope of winning a fight or has clearly lost it wants his style in fighting to be admired all the more.”
—Friedrich Nietzsche (1844–1900)
“[Girls] study under the paralyzing idea that their acquirements cannot be brought into practical use. They may subserve the purposes of promoting individual domestic pleasure and social enjoyment in conversation, but what are they in comparison with the grand stimulation of independence and self- reliance, of the capability of contributing to the comfort and happiness of those whom they love as their own souls?”
—Sarah M. Grimke (1792–1873)
“As if the musicians did not so much play the little phrase as execute the rites required by it to appear, and they proceeded to the necessary incantations to obtain and prolong for a few instants the miracle of its evocation, Swann, who could no more see the phrase than if it belonged to an ultraviolet world ... Swann felt it as a presence, as a protective goddess and a confidante to his love, who to arrive to him ... had clothed the disguise of this sonorous appearance.”
—Marcel Proust (1871–1922)