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FISH

Neo-Prog • United Kingdom


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Fish picture
Fish biography
Derek William Dick - Born 25 April 1958 (Dalkeith, Scotland)

Because he finds it very nice to lie in the bath for hours, with his rubber duck, he gets this nickname from his friends: FISH. Later Derek shall use this name as his artists name. Derek grows up in the little village Dalkeith, where his parents have a garage. He's in school there, where he has a easy time, and has good results. Derek too is a fan of THE BEATLES in that period, and he wants to learn to play an instrument. But he never gets beyond playing a tennis racket in front of the mirror. The first single he buys is "Lola" of THE KINKS.

Daddies' garage is becoming a better and better way of way of earning a living and Derek is allowed to go to high school (which is far more expensive). Derek isn't so satisfied with that and prefers to stay in Dalkeith. When Derek is about 13 years old, he becomes more and more interested in music. Especially groups like YES, ELP and of course PINK FLOYD are his favorites. He likes the idea of having a band of his own. But his problem is that he cannot play any instrument. He tries drumming, but that's not so easy as it seems to. There's only one thing that Derek can do without many problems: singing. And this is the beginning of his career. Derek studies a lot by singing along with his favorite songs of YES, ELTON JOHN, and DEEP PURPLE.

Derek is getting older, and school becomes less and less interesting for him. He discovers the nightlife, and begins to enjoy life more and more. When he's 18 and ready with high school, he still doesn't know exactly what to do. He doesn't like university, and therefore he takes a job at the Forestry Commission. There he has the opportunity to do a building engineering study, something he likes because that would mean spending a lot of time outside. In 1979 he leaves for a study journey to Germany. When he gets back, he decides to become a singer at last. Derek changes his name to FISH. Not in the latest place because the off-stage nickname of Chris SQUIRE is also FISH. When he meets Peter GABRIEL after a concert, and this guy turns out to be a normal human being, FISH thinks "then I can do it too". FISH looks for a band, and after a failed audition for NOT QUITE RED FOX, comes across BLEWITT thanks to an old friend. Although the band does not play FISH's favorite music, he becomes their singer. FISH gets a lot experience on stage and thanks to that his performance and his voice both increase in q...
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FISH discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

FISH top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.87 | 386 ratings
Vigil in a Wilderness of Mirrors
1990
3.14 | 240 ratings
Internal Exile
1991
2.39 | 149 ratings
Songs From The Mirror
1993
2.85 | 181 ratings
Suits
1994
3.81 | 251 ratings
Sunsets On Empire
1997
3.74 | 241 ratings
Raingods With Zippos
1999
3.53 | 147 ratings
Fellini Days
2001
3.59 | 177 ratings
Field Of Crows
2004
3.79 | 271 ratings
13th Star
2007
3.96 | 442 ratings
A Feast of Consequences
2013
3.84 | 117 ratings
Weltschmerz
2020

FISH Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.28 | 22 ratings
Pigpen's Birthday
1993
3.96 | 26 ratings
For Whom The Bells Toll
1993
4.00 | 15 ratings
Derek Dick & His Amazing Electric Bear
1993
4.00 | 24 ratings
Toiling In The Reeperbahn
1993
3.49 | 22 ratings
Uncle Fish & The Crypt Creepers
1993
2.78 | 37 ratings
Sushi: Live In Utrecht
1994
3.79 | 14 ratings
Fortunes of War - Live Acoustic Set UK '94
1994
3.14 | 52 ratings
Acoustic Session
1994
2.93 | 22 ratings
Krakow
1995
2.06 | 15 ratings
Fish Head Curry
1996
4.55 | 24 ratings
Tales From The Big Bus
1998
4.38 | 8 ratings
Haddington Convention 1998
1999
3.18 | 20 ratings
The Complete BBC Sessions
1999
3.38 | 10 ratings
Acoustic Sessions
2000
4.22 | 9 ratings
Candlelight In Fog, Live In USA
2000
4.50 | 25 ratings
Sashimi, Live In Poznan, Poland 1999
2001
3.82 | 29 ratings
Fellini Nights
2002
4.17 | 17 ratings
Mixed Company
2003
4.57 | 21 ratings
Scattering Crows
2005
3.89 | 59 ratings
Return to Childhood
2006
4.24 | 28 ratings
Communion
2007
4.00 | 1 ratings
Fishheads Club Live: The Spittalrig Sessions
2012
0.00 | 0 ratings
Fishheads Club Live: University Of Derby
2012
4.42 | 12 ratings
Leamington Spa Convention 2012
2013
4.60 | 5 ratings
The Moveable Feast (European Tour 2013 - 2015)
2016
4.15 | 13 ratings
Farewell To Childhood
2017
4.33 | 3 ratings
A Fish in the Lemon Tree - Live MMXX
2020

FISH Videos (DVD, Blu-ray, VHS etc)

4.50 | 6 ratings
Songs For The Company
1994
4.38 | 8 ratings
Krakow - Acoustic Set 1995
1996
4.33 | 9 ratings
Krakow - Electric Set 1995
1996
4.00 | 4 ratings
Duisburg - 10 Year Solo Artist
1998
4.25 | 12 ratings
Kettle Of Fish
2002
4.11 | 17 ratings
Fool's Company
2003
4.16 | 18 ratings
Sunsets On Empire - Live In Poland 1997
2003
4.58 | 12 ratings
Scattering Crows
2005
2.36 | 9 ratings
Live In Krakow - Acoustic
2005
3.89 | 9 ratings
Live In Krakow - Electric
2005
3.21 | 43 ratings
Return to Childhood
2006
4.67 | 6 ratings
In Search Of The 13th Star - Fish Live In The USA
2009
4.33 | 3 ratings
Fishheads Club Live
2012

FISH Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.10 | 49 ratings
Yin
1995
3.20 | 46 ratings
Yang
1995
3.56 | 9 ratings
Yin & Yang - Radio Edits
1995
2.61 | 23 ratings
Kettle Of Fish 88-98
1998
4.19 | 28 ratings
Bouillabaisse - The Perception Of Fish
2005

FISH Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

2.67 | 17 ratings
Big Wedge
1989
4.09 | 11 ratings
State Of Mind
1989
3.31 | 17 ratings
A Gentleman's Excuse Me
1990
4.33 | 9 ratings
The Company
1990
0.00 | 0 ratings
Ao Vivo Em Portugal
1990
4.13 | 16 ratings
Credo
1991
4.00 | 18 ratings
Internal Exile
1991
3.50 | 10 ratings
Something in the Air
1992
3.38 | 8 ratings
Never Mind The Bullocks
1992
4.00 | 13 ratings
Fortunes of War
1994
3.80 | 15 ratings
Lady Let It Lie
1994
4.08 | 13 ratings
Just Good Friends
1995
0.00 | 0 ratings
The Funny Farm Interview - July '95
1995
3.80 | 10 ratings
Change of Heart
1997
3.71 | 14 ratings
Brother 52
1997
4.25 | 4 ratings
Brother 52
1997
4.07 | 15 ratings
Incomplete
1999
5.00 | 1 ratings
Issue 30 CD
2000
4.33 | 3 ratings
Fellini Days - Companion CD
2001
0.00 | 0 ratings
Field Of Crows - Radio Edits
2004
4.36 | 14 ratings
Zoe 25
2008
3.00 | 11 ratings
Arc Of The Curve
2008
4.17 | 6 ratings
Blind to the Beautiful
2014
4.15 | 31 ratings
A Parlay with Angels
2018

FISH Reviews


Showing last 10 reviews only
 The Complete BBC Sessions by FISH album cover Live, 1999
3.18 | 20 ratings

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The Complete BBC Sessions
Fish Neo-Prog

Review by Warthur
Prog Reviewer

4 stars This is a collection of two concert recordings from Fish recorded by the BBC, both hailing from early in his solo career: a November 1989 engagement at the London Town and Country Club, and a November 1991 gig in Nottingham.

The first show represented here covers the first disc and the first three tracks of the second - that's why Heart of Lothian pops up twice, and why in the first version you can hear him saying farewell to the London Town and Country Club. At this point in time Fish's first solo album, Vigil In a Wilderness of Mirrors, had been in the can for a bit, having been recorded around the same time as Marillion recorded Seasons End. EMI, not wanting to put the two acts up against each other, had decided to delay the album until the new year, so this would be the first opportunity for fans to hear a good chunk of the new material, as well as one of Fish's earliest solo backing groups tacking Marillion material.

In fact, there's more than that besides: the set starts off with a thunderous cover of Faith Healer by the Sensational Alex Harvey Band; it wouldn't be until Raingods With Zippos that Fish would put out a studio rendition of the track, but the take on it here is pretty damn solid and finds both Fish and band on fine form.

Setting this exception aside, the remaining 13 songs consist of 5 songs from Vigil, 8 from the Marillion back catalogue. A good dose of Marillion was probably inevitable - Fish's solo career had barely begun, and it was his Marillion work which brought most of his fans to the gig.

Still, with over half the tracks on Vigil represented, fans were getting a good sampler of what solo Fish sounded like - and the dual lead guitar lineup allows for a good injection of energy into material old and new. This makes Punch and Judy - one of the more energetic, rock-oriented numbers from Fish's Marillion years - a good pick for the first of the older songs to be included here, forming the end of a thunderous opening salvo of Faith Healer/The Voyeur/Punch and Judy.

There's also an outright funky little breakdown partway through the song, a clever move which allows the band to put their own fun little twist on the song - one which simultaneously doesn't feel very Marillion-ish, but nonetheless feels appropriate to the song. Thus, even when he's dipping into his past here, Fish is not content to just go through the motions but is happy to keep developing his material, something which has remained true over his solo career.

The rest of the set is delivered with similar skill, and setting these Marillion classics in with songs from Vigil really gets across the idea that Fish's first solo album was as natural a development of the sound of Clutching At Straws in its own was as Marillion's Seasons End was - both factions taking things in a somewhat different direction, and as fans we are lucky to live in a timeline where both directions ended up coming about. As of late 1989, there must have been every reason to expect that Fish's solo career would be a storming success.

The second show - consisting of the remainder of the second disc - was widely bootlegged as "There's A Guy Works Down The Chip Shop Swears He's Fish", but it's nice to get an official release for it that actually supports the artist. This comes from nearly two years later, and captures Fish on the Internal Exile tour. Here, the proportion of solo to material to Marillion songs has flipped - there's 3 Marillion songs and 6 Fish solo pieces, Fish being able to draw from the cream of Vigil In a Wilderness of Mirrors and Internal Exile in order to put together a setlist which covers the full span of his career.

The musicianship is more focused here, and the sound feels a bit more cohesive than on Internal Exile itself - an album which, though I have warmed to it over time, was a bit disjointed. Here, Fish seems to be settling into a prog- pop trajectory not too far away from the one which Genesis themselves were exploring at the time, and his band prove adept at setting a diverse range of songs into this mode.

This isn't the only source for live shows from the Vigil and Internal Exile tours, mind - when Fish was striking out in the independent sphere he put out a slew of "official bootleg" albums from these two tours for the sake of getting some cheap product. The first show here is different enough from the one captured on the "Pigpens Birthday" gig - which came from substantially later in the Vigil tour - that it doesn't feel redundant next to it. The second show is more evidently a truncated version of the sort of setlist captured on official bootlegs such as "Uncle Fish and the Crypt Keepers", "Derek Dick and His Amazing Electric Bear", and "For Whom the Bell Tolls" - but it's a nice bonus here. And if you just a one-and-done overview of Fish's live act in his early solo career, this is a pretty good summation of his first two years or so.

 Internal Exile by FISH album cover Studio Album, 1991
3.14 | 240 ratings

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Internal Exile
Fish Neo-Prog

Review by Warthur
Prog Reviewer

3 stars It's hard to get as excited about Fish's second album, Internal Exile, as one might like - after all, in the liner notes found on some CD reissues he all but acknowledges that it isn't his strongest work when considered as an album. There's undeniably solid songs here - Credo quickly became a lynchpin of his live set, for instance - but things don't hang together quite as well as on Vigil In a Wilderness of Mirrors.

To an extent, this isn't Fish's fault: 1990 and early 1991 had been a rough time for him. EMI had insisted on holding off on the release of Vigil, so as not to compete head to head with Marillion, which in practice meant that Fish lost a lot of momentum, and he badly overestimated the returns on the Vigil tour and ended up out of pocket. This prompted a contract dispute with EMI, when Fish felt they weren't offering him enough of an advance on the recording, and this quickly turned into a legal battle which would see the end of his working relationship with the label he'd been with since Marillion signed back in 1982, and would result in him signing to Polydor.

There were plenty of reasons, then, for Fish and his band to be somewhat off their game when they settled down to record this - but no matter how good the reasons are, the end result is still an album which feels a bit disjointed. Part of this feels like a production issue - the album was among the first material recorded in Fish's home studio, and a nervous Polydor sent Chris Kimsey, producer of Misplaced Childhood, along to make sure everything came out. The end result risks sounding over-slick and over-orchestrated at points, with Fish's voice occasionally being obscured in the mix by over-loud backing. Sure, Credo might have become a live favourite, but the initial pass here could do with a bit less of a heavy hand.

In addition, Fish and his band were incorporating aspects of Celtic folk music into the album, and it feels like a more folk-friendly production (rather one trying to fit everything in a straight-ahead radio-friendly rock mode) might have teased the better aspects of the sounds out.

It's a shame that the album sounds so disjointed, because thematically there's a strong concept here - Fish this time considering his relationship with his homeland of Scotland and the possibilities of Scottish independence, perhaps a bit of a fringe political view at the time but an idea whose time may well have come, given that pro-independence parties seem to have had a lock on the Scottish Parliament for successive elections and support for freedom from the clumsy hand of Tory-dominated Westminster is on the increase.

Does this also mean it's time to reappraise Internal Exile? I think perhaps it is. As with Vigil, it's certainly a step or two closer to mainline classic rock than Marillion ever were, though with Marillion themselves taking on their own set of broader influences from outside the prog world on Holidays In Eden this is perhaps all to the good, both sides of the divorce establishing some clear water between their current work and their old, as well as between each others' approach.

Perhaps the difference is that whilst EMI seem to have let Marillion continue their development organically (at least at this stage of the proceedings), Chris Kimsey's production on the album seems to be trying to keep Fish in a 1980s classic rock mode, and the album to me is at its best when a composition comes up which self-evidently can't be nudged in that direction, prompting the production to ease its grip a little.

The opening three songs all make me think "nice song, would be nice to hear it with different production", but my appreciation of the album perks up with Favourite Stranger, which has a musical backing which manages the same trick of somehow being laid-back and mellow but at the same time just a little uneasy that trip-hop was starting to perfect as its own at the same time. As a song, it might not be the best, but it does mark a moment where the production actually assists the music and improves on it. Then Lucky comes along, a really solid and stirring song where again the production is actually helpful, and the album really starts to soar.

It took a while for Internal Exile to grow on me, because I came to Fish through his work in Marillion and through some of his more progressively-inclined solo albums. Here, he's moving away from all that, and it seems evident that he's flirting with the idea of becoming a Celtic folk-tinged singer-songwriter (with a few nods to his prog past) rather than a more traditional rock frontman. Once I wisened up and realised that was the approach he was taking, I was able to appreciate the album much better - but the production on the early numbers doesn't set you up to expect that, which can be a stumbling block.

Call it three and a half stars, and dock half a star or so if you aren't interested in Fish taking a less proggy approach than typical for him.

 Pigpen's Birthday by FISH album cover Live, 1993
3.28 | 22 ratings

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Pigpen's Birthday
Fish Neo-Prog

Review by Warthur
Prog Reviewer

4 stars After Fish had crashed out of association with big record labels and started to make a go of it on his own in the early 1990s, he hit on the idea of putting out "official bootlegs" - sourced from soundboard tapes, so their sound quality is better than any audience tape could be, but with cheap and cheerful packaging which could be knocked out on a tight budget. After all, bootleggers had proved that there was an appetite for such releases - why shouldn't Fish tap into some of that to get some funds, especially given the financial straits he was in?

Some of these would be rather redundant - there's a clutch of them all sourced from late-ish 1991 with very similar track lists, and you have to ask whether Fish risked flooding the market there. However, Pigpen's Birthday fills in quite a significant part of Fish's live history which hasn't had much of an outing elsewhere - namely, the VIgil In a Wilderness of Mirrors tour.

Though an autumn 1989 show that actually predated the album's release got released as disc 1 of the Complete BBC sessions, this two-disc set hails from late 1990, with the backing band having become road-seasoned and Fish sounding as natural singing the fresh new material as Marillion classics.

In fact, the setlist incorporates most of Vigil, as well as an early outing for Internal Exile, the next album's title track - an early version of which was recorded during the Vigil sessions. In all, there's actually more Fish solo numbers here than Marillion tracks, which when you think about it is good going for this early in his solo career, and the Marillion numbers are well-chosen to play to the band's strengths and sit nicely next to the new material.

Trouble was on the horizon in the form of the legal troubles which would see Fish leave EMI - but at this point in his solo career, there was every reason to be hopeful, and this live set, with a sound quality just as good as any official release despite the bootleg-esque quality of the cover, finds a newly-solo Fish sounding like the master of his own destiny, buoyed up by his history with Marillion but by no means exclusively defined by it.

 Return to Childhood by FISH album cover DVD/Video, 2006
3.21 | 43 ratings

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Return to Childhood
Fish Neo-Prog

Review by VianaProghead
Prog Reviewer

4 stars Review Nº 406

"Return To Childhood" is a DVD of Fish and was released in 2006. It was also released as a double live CD that contains precisely the same songs in the same order. And it was also released in the same year. In 2005 Fish celebrated the 20th anniversary of Marillion's best-selling album, "Misplaced Childhood", with a series of concerts which featured an integral performance of the album. It was recorded from a live concert made at The Paradiso, in Amsterdam, Holland.

"Return To Childhood" has twenty two tracks. The live show is divided into two distinct musical parts. The first part is entirely made of live songs of some of Fish's solo studio albums. The second part is entirely filled by Marillion's songs when he was in the group, and it was especially focused on their third studio album, "Misplaced Childhood", which was entirely performed. So, "Return To Childhood" is divided into two discs, disc 1 and disc 2. Disc 1 has nine tracks, all belonging to the solo repertoire of Fish. So, the those nine tracks are: "Big Wedge" from "Vigil In A Wilderness Of Mirrors", "Credo" from "Internal Exile", "Brother 52" and "Goldfish And Clowns" from "Sunsets Of Empire", "Raingods Dancing" and "Wake Up Call (Make It Happen)" from "Raingods With Zippos", "Long Cold Day" from "Fellini Days" and "Moving Targets" and "Innocent Party" from "Field Of Crows". Disc 2 has thirteen tracks, all belonging to Marillion's catalogue. The first ten tracks all belong to the third studio album of Marillion, "Misplaced Childhood". The remaining three tracks are from other works: "Incommunicado" from their fourth studio album "Clutching At Straws", "Market Square Heroes" from their debut EP "Market Square Heroes" and "Fugazi" from their second studio album "Fugazi".

The line up on "Return To Childhood" is Fish (lead vocals), Deborah French (backing vocals), Frank Usher (lead guitar), Andy Trill (guitar), Tony Turrell (keyboards), Steve Vantsis (bass) and John Tonks (drums). The magic of a Fish's concert is, especially in these days, the enormous charisma that he still has today. That charisma translates particularly well onto the screen on this DVD. The emotion, the heart and the soul that Fish pours into all his performances is absolutely fantastic. The solo hits section of the live collection goes to show that Fish has produced some strong material in his seven studio albums since his departure from Marillion, a collection of albums that has often been overlooked. "Big Wedge" starts everything off in rousing fashion and features some stunning guitar work. "Brother 52" is also great, while the proggy "Moving Targets" is drenched in keyboard sounds. "Goldfish And Clowns" is a real highlight and Fish confirms what a competent front man he is at the start of "Innocent Party", commanding the audience. Anyone who has seen Fish live will know exactly what a huge presence he always has on stage. "Return To Childhood" was a number one album for Marillion, in 1985, and the songs on the second disc still stand up, even today.

The footage is well captured and edited, doing full justice to Fish's antics. Fish's expressions are particularly very well captured by the many cameras around the stage. The footage itself is somewhat dark. There's an occasional spotlight aimed to Fish, but the rest of the band are largely obscured in the shadows. There's also a projection screen behind the band, but the footage that is shown on this screen is hardly ever captured by any of the cameras. The DVD has also an hour long interview with Fish conducted by John Hotten from the Classic Rock Magazine. On it, Fish elaborates the origin of "Misplaced Childhood" and how the album came about. The interview was taken in Amsterdam along one of the many canals of the city. The place of the interview is magnificent for a person like me, who was in Amsterdam few years ago. So, it was magic and a real pleasure for me revisit so beautiful place, also known as the Venice of the north.

To finish, the DVD comes in a slipcase and has a little booklet based on the original "Misplaced Childhood" tour book.

Conclusion: Throughout all the live show we can clearly see that Fish loves Holland. He says to the audience that he has many things in common with the Dutch like that he is a very tall guy, to a Scottish, and that in Holland the Dutch look people straight in the eyes, like Scottish people use to do. So, it wasn't a real surprise this DVD, so important to him, was recorded in The Netherlands. "Return To Childhood" is a great concert, really. The emotion, the heart and the soul that Fish pours into any of his performances are absolutely astonishing. It even makes you forget that his voice isn't as good as it was twenty years ago, or the fact that the music sounds a bit odd when played in a higher key than the original recordings. Concluding, this is a nice release that worth buying if you're a Fish's fan. It shows what a great performer Fish is, and his performance comes across really well. This is an automatic purchase for fans of the big man.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Return to Childhood  by FISH album cover Live, 2006
3.89 | 59 ratings

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Return to Childhood
Fish Neo-Prog

Review by VianaProghead
Prog Reviewer

4 stars Review Nº 405

Fish is a vocalist, poet and musician very well known in the progressive rock world. He was born April 25, 1958, in Edinburgh, Scotland. Derek William Dick, aka Fish, joined the neo-progressive rock band Marillion in 1981 and led the band through numerous successes. He was the dramatic lead vocalist of Marillion with a dynamic personal presence, both off and on stage, in the same vein of Peter Gabriel of Genesis. He participated as a band's member of Marillion on their four first studio albums and on many of their live shows, before departing for a brilliant solo career, in 1988.

"Return To Childhood" is a live album of Fish and was released in 2006. It was also released on the DVD format that contains the same songs, precisely in the same order. It was also released in the same year. In 2005, Fish celebrated the 20th anniversary of Marillion's best-selling album "Misplaced Childhood" with a series of concerts which featured an integral performance of the album. It was recorded from a live concert made at The Paradiso, in Amsterdam, Holland.

"Return To Childhood" has twenty two tracks. The album is divided into disc 1 and disc 2. Disc 1 has nine tracks, all belonging to the solo repertoire of Fish. So, those tracks are: "Big Wedge" from "Vigil In A Wilderness Of Mirrors", "Credo" from "Internal Exile", "Brother 52", "Goldfish And Clowns" from "Sunsets Of Empire", "Raingods Dancing" and "Wake Up Call (Make It Happen)" from "Raingods With Zippos", "Long Cold Day" from "Fellini Days" and "Moving Targets" and "Innocent Party" from "Field Of Crows". The disc 2 has thirteen tracks, all belonging to Marillion's catalogue. The first ten tracks of that disc belong all to the third studio album of Marillion, "Mispalced Chilghood". The remaining three tracks are: "Incommunicado" from their fourth studio album "Clutching At Straws", "Market Square Heroes" from their debut EP "Market Square Heroes" and "Fugazi" from their second studio album "Fugazi".

The line up on "Return To Childhood" is Fish (lead vocals), Deborah French (backing vocals), Frank Usher (lead guitar), Andy Trill (guitar), Tony Turrell (keyboards), Steve Vantsis (bass) and John Tonks (drums).

When comparing this band to the band that played "Misplaced Childhood" at the European convention in 2002, this new line up represents a step forward. The band on this album plays as a very tight unit, which coupled with Fish's voice, it sounds best that it has in a long while, which makes of it in one of his better live albums, in the most recent years.

As I said before, the first half of the gig contains of a selection of Fish's solo works. The set contains mainly the more up tempo, rocky songs from his repertoire, with only "Goldfish And Clowns" and the "Raingods Dancing" falling more in the category of ballads. So, here we have excellent versions of "Brother 52", "Goldfish And Clowns" and a moving of "Raingods Dancing", among others. "Credo" sounds especially energetic to my ears. "Big Wedge" and "Raingods Dancing" are probably my favourite tracks in this first part of the album. After that, the band exits the stage one at a time before a short break in anticipation of the evening's main event, the live performance of "Misplaced Childhood".

The second disc contains, obviously, the integral performance of "Misplaced Childhood" as well as some more Marillion's classic tracks, as encores. The rendition of "Misplaced Childhood" is fairly close to the original, despite the addition of a female backing vocalist, and that it was played in a more heavy and modern way. The backing vocals of Deborah French make a nice addition to Fish and work pretty well, although she does occasionally try to upstage him, I think. The crowd is absolutely bonkers, at this point, and needless to say that it's really ready for more Marillion's material after Fish and his band takes their bows. For the encores, the Paradiso is treated to "Incommunicado", "Market Square Heroes" and a supposedly unrehearsed "Fugazi" all performed with great perfection. All this was a must have to all Marillion's fans of the Fish's era. All in all, we have here two fast hours and fifteen minutes of great music, really.

Conclusion: As happened with most of you, the main reason that led me to buy this live album was de CD 2 and that was the CD I heard first, really. However, if we want to be totally fair, this live album is much more than "Misplaced Childhood". Relatively to CD 1, I'm not an expert on Fish's solo material. I merely know some few Fish's solo tracks, particularly his two first studio albums. So, I can't say if all these live versions are different or better from their original versions. But, I can say that for my surprise that they're all great and that I was very pleased when I listened to them, especially "Big Wedge" and "Raingods Dancing". Relatively to CD 2, it exceeded all my expectations, really. It's truly impressive that 20 years later he did it different but also excellent. We may say that it sounds more heavy and modern than their original versions. To my ears, it continues sounding fresh and new as if it was the first time. This live version is as good as the original. "Return To Childhood" is a great live album and an excellent addition to any prog collection. I think it's very curious that was Fish and not Marillion that celebrated the 20th anniversary of that great masterpiece.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Weltschmerz by FISH album cover Studio Album, 2020
3.84 | 117 ratings

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Weltschmerz
Fish Neo-Prog

Review by thesimilitudeofprog

4 stars It has been a long time in the making but Fish has finally released his final album 'Weltschmerz'. If this is indeed Fish's last studio album, he leaves us with a masterpiece. The word 'Weltschmerz' translates as a feeling of melancholy in a world of weariness. This album was created against a backdrop of unprecedented world events, shocks and challenges making the artistic achievement more impressive.

Grace of God in my opinion is one of Fish's better album openers. This song resonates with many of Fish's multi-movement pieces but this one is impressive because it builds so well and so naturally. Often with expansive prog pieces the way movements segue into another can become clunky or disjointed. Grace of God is a fine example of a song growing seamlessly with a clear purpose. Next up is a song called Man with A Stick. This song has a wonderful blend of old and new. Following Man with A Stick we have a song called Walking on Eggshells. A song about a torched relationship that should end but will not. The arrangements on Walking on Eggshells carries you on a journey. There are great moments of fine detail, and the vocals from Fish are flawless. This party's over is special song. This farewell song is both joyful and sad. It is a goodbye, but it is also a call to arms that we still need to fix our world. On the fifth track on the album Rose of Damascus, Fish delivers his greatest lyrical performance in years. The album standout for me is track 6 a song called Garden of Remembrance. It has one of the most powerful music videos I have seen in a long time. Garden of Remembrance is a poignant song with great emotional power and depth. The song references the issues of Alzheimer's and its deep emotional impact on family and loved ones. Anyone who has experienced Alzheimer's and Dementia in their family will be drawn into this song and will relate immediately with the depth and the power conveyed by the song and the video. Following Garden of Remembrance, we have a song called C Song (The Trondheim Waltz). This song has a real folk feel and references Fish's Scottish roots. After C Song (The Trondheim Waltz) what is probably going to be a fan favorite, Little Man What Now? This is reportedly inspired by his father's passing. This song this is a definite highlight on the album. Another highlight on this album is Waverley Steps (End of the Line). It brings together all the nuanced skills of Fish's sustained career. It has a powerful moving poetic narrative. On the title track Weltschmerz Fish masterfully brings together the mix of genres, styles and influences that define what the solo chapter of his musical career has been about. Weltschmerz stands as the best album of Fish's solar career and easily amongst the best of this year by anyone.

Rating-88%

Recommended Tracks: Grace of God, Rose of Damascus, Garden of Remembrance, Waverley Steps (End of the Line) & Weltschmerz.

 Weltschmerz by FISH album cover Studio Album, 2020
3.84 | 117 ratings

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Weltschmerz
Fish Neo-Prog

Review by AgeofMadness

2 stars I have been a Fish fan since I first heard You Know he Knows on the radio way back in 1983. I was crushed when he left Marillion but his solo albums for the most part have been excellent, yes I know Fish writes great lyrics and has a great voice but he knows that you need cool guitar solos and a blend of guitar and keyboards. Most of his albums are like that and his masterpiece as far as I'm concerned were 13th star and A Feast of Consequence.

So I was freaking out waiting for this last album Weltschmerz especially when I saw some quite long songs, 15 minutes is pretty long for Fish. I was expecting some guitar solos or some heavy guitar sounds.To say I was a little shocked when I started listening was an understatement. Was this a Fish album or elevator music.

I'm very disappointed with it. I've listened to it 5 or 6 times and no it does not grow on me. After Steve Vantsis helped write all those cool songs on 13th star and parts of A Feast of Consequences how could he just fall flat on Weltschmerz, even Boult helped Vantsis on A Feast of Consequence with some songs and he also seems lost. Like where did all the good music go? So it's too bad but it looks like Fish is going out with a whimper. If you like good music to go along with good lyrics, this album is not for you.

 Weltschmerz by FISH album cover Studio Album, 2020
3.84 | 117 ratings

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Weltschmerz
Fish Neo-Prog

Review by gbjones

4 stars Upon rating this a "4" I want to say that it is slightly less than a "4", just like Consequences is a bit more than a "4". Consequences, as a Fish album, finally contained material on a par with material found in the early Marillion albums for which he is so famous. Weltschmerz, in my mind, contains no such material. The signature songs - Grace of God, Remembrance, Rose, Little Man, and Waverley are all excellent songs, but close to 25 minutes of that material was already released on an EP in 2018, which is bound to disappoint anyone who already has the EP in possession. One commentator pointed out that this album isn't prog, but sort of a prog 2.0; rather one should ask if the shorter tracks are aimed at sort of a "pop 2.0" rather than prog at all. So, consider it a"4" because otherwise it is technically well executed and contains material that you must have if you are a fan of Fish and/or Marillion.
 Weltschmerz by FISH album cover Studio Album, 2020
3.84 | 117 ratings

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Weltschmerz
Fish Neo-Prog

Review by Squire Jaco

4 stars Good new album!

I've never been the most faithful fan of Fish, loving much of what he did on the early Marillion albums "Script", "Childhood", and especially "Clutching" ("Fugazi"...not so much...); and his work on some of the Tony Banks solo shtuff was great. Then I took a chance a couple of years ago on his compilation cd "Bouillabaisse" and was really impressed. So I thought I'd give his new one "Weltschmerz" (World Pain) a listen.

I really like it. His vocals are great on this, sounding like an older Phil Collins(?), which is weird as I always thought his younger voice was more similar to Peter Gabriel. And the songwriting is fresh and original, albeit in the Marillion/Genesis vein in many places. The most proggy song is the nearly 14 minute "Waverley Steps (End of the Line)". A couple of songs were on the edge of skippable for me first time through - "Man With a Stick" and "This Party's Over". I thought that they could have been left off of this 84-minute album and it would have been just fine. But subsequent listens have softened me to even those two songs. Leave 'em alone...

This is good stuff overall. And not nearly as downtrodden as a title like Weltschmerz might indicate. 4 stars seems about right.

 Suits by FISH album cover Studio Album, 1994
2.85 | 181 ratings

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Suits
Fish Neo-Prog

Review by zedumar

3 stars The suits fit me well After de disappointment from the two previous albums, Internal exiles (2 stars) and Songs from the Mirror (one star), the Fish is rising again! Suits is a more personal, creative, and inspired album where you can feel that Fish is more comfortable and regained confidence. Let us point out that Fish's solo career is not as progressive as the previous years at Marillion and listen to it with an open mind. I especially like the songs Suits, Raw Meat, Lady let it lie, Fortunes of war, somebody special. Finally, this album convinced me to keep exploring the solo career of such a great singer and poet! I rate it 3,5 stars.
Thanks to ProgLucky for the artist addition. and to Quinino for the last updates

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