First of all I caught her reflection in the window of the pharmacy store,
There I was locked up in my pick-up in the rush hour on the Delaware road
It must have been the scent of her perfume or the glimpse of that French lingerie
a product of my imagination, I blame it all on a hot Summers day
blame it all on a hot Summers day, Chasing Miss Pretty,
Chasing Miss Pretty...
I turned up the air-conditioning, nothing's gonna cool me down,
I stared through the steamed up window and watched her glide away cross town,
I couldn't let this vision escape me, couldn't let her get too far out my reach,
I was throwing my life in the gutter along with the pick-up keys,
Along with the pick-up keys, Chasing Miss Pretty, Chasing Miss Pretty,
Chasing Miss Pretty...
I tell myself that this can't be happening, I promised myself never again,
But when the chips are down and the lights go out I'm back here again,
Chasing Miss Pretty...
I'll promise her undying affection, promise everlasting love
I'll buy her a ring for her finger , for this angel sent from Heaven above,
The problem is I can't seem to find her, it looks as if my true love is lost,
I'm standing alone with my heartache as my Lady went and boarded the bus,
My Lady's gone and boarded the bus, Chasing Miss Pretty, Chasing Miss Pretty,
Chasing Miss Pretty...
I've got to get me a Doctor, I gotta get me some pills, I need a real cold shower,
I got to get my eyes off these girls, Got to get my eyes of these girls,
I got to get my eyes off these girls, these girls, these girls, these girls,
Chasing Miss Pretty...
Mr. Buttons
He works shifts, days in the factory, prints chips for foreign PC's,
At night deep in his hideaway, steals out of the monitor screen,
Looking good Mr Buttons, so you should Mr Buttons.
He don't have respect for authority, makes shadows in a rich man's world,
back doors are always available, no one ever gets hurt or killed,
just a game Mr Buttons, feel no shame Mr Buttons
Simple break and entry, he never hangs about too long, in and out the money's gone,
Always masks his exit, the systems always fail, he never leaves a trail.
A surfing Highwayman making out the best he can.
Watch your back Mr Buttons, on your tracks Mr Buttons,
Watch your tail Mr Buttons, on your trail Mr Buttons.
He went down state Penitentiary, locked him up threw away the key,
In time they gave him the Library, access to the new PC...
Back on line Mr Buttons, doing fine Mr Buttons.
Simple break and entry, he never hangs about too long, in and out the money's gone,
Always masks his exit, the systems always fail, he never leaves a trail,
Holding up the Planet, a surfing Highwayman, making out the best he can,
That's Mr Buttons, Mr Buttons, Mr Buttons,
Holding up the Planet, a surfing Highwayman, moving money just for fun,
Oh Mr Buttons...
The Iranian palmreader in Galashiels told me in 1980 that I would have 3 different careers and that the second would make me famous and wealthy while the third would disappoint a lot of people at first but in the end lead me to even greater levels of success.
This was just as a forestry worker was about to make the big leap at 22 years old into the music business. I'd just started singing with a band in the Scottish borders and 15 gigs later in January 1981 I joined an unknown outfit called Marillion. Enough words have been written about that period between signing the recording contract with EMI Records in September 1982 and my eventual resignation in October 1988 but not as many have been written about the period that was to become my third career as a solo artist.
To some I disappeared from the scene after my first solo album with EMI, others have stuck around as my career ducked and dived through the 90's, sometimes out of control, always out of fashion, out of synch and in recent years out of the mainstream. The songs were always there along with the quality and diversity people have expected from my work. Perhaps too much diversity at times. So much so that directions were hard to fathom or understand and the eclectic nature was sometimes too demanding to follow.
I don't really fit with any particular genre. You can find positive reviews in Heavy Metal magazines as well as Folk or Country based publications. For those who discover what I do it's more often than not a surprise. "I never knew you sounded like that" or "I didn't expect this at all" is a pretty standard reaction followed by "Why do we never hear from you these days?" or "why don't more people know what you're doing?". I went missing, not through choice, rather through circumstance. I never had a formula. I just have always written and played music I've liked and enjoyed, a maverick tendency that doesn't always go down well with some people including fans! It's not an arrogance or bloody mindedness, just an attitude that's an essential part of my nature.
After hearing Ray Davies sing "Lola" I fell in love with the words and the ability to set a story to music and to this day I still consider myself more of a lyricist rather than a musician. I was gifted at English at Dalkeith High School but it wasn't really a subject that interested me. In particular creative writing was a strongpoint and the discovery of "Progressive Rock" with it's lengthy tracks and dramatic feel proved too strong an attraction for a sexually immature and socially awkward, romantic teenager. I didn't have the peer pressure of an older brother or sister to initiate me in the Beatles or Stones, I had Alan Freeman on Saturday afternoons on Radio one playing Genesis, Floyd and Yes along with traditional songwriting fare from Elton John, Sandy Denny and The Faces!
When I joined the "Blewitt" band in 1980 I successfully auditioned with Free's "Alright Now" and proceeded to discover Ry Cooder, Little Feat and Steely Dan through my mentor at the time Frank Usher who would eventually join my first solo band in 89. I didn't fix onto any style in particular. I didn't belong to any "tribe". It was this attitude to music that made me what I am today. I'm just as happy singing Blues as much as R&B or straightforward Rock and Roll as much as more "complicated" or "progressive" pieces. It is this that has been as much of a problem as an asset in my solo career.
In the late Autumn of 1988 the prospect of writing a solo album seemed a daunting task. I hadn't "squirreled" away any songs from the band's writing sessions although I had a few crystals of lyrical ideas all awaiting music. I needed a co-writer and he came in the shape of keyboard player Mickey Simmonds who I'd met again in the Summer of 88 while playing squash with Mike Oldfield. Mickey had been playing in Mike's band but was looking for something else as roadwork was over. He came down to my house in Gerrards Cross and after selling me a dodgy Helpinstill piano proceeded to settle in to writing of the first solo album, "Vigil in a Wilderness of Mirrors".
The house was put up for sale as my funds were limited and I recognised that I had to find a new base for my new solo career. I needed rehearsal rooms and storage space as well as a home and after much consideration decided to move back to my native Scotland as much for spiritual as financial reasons. My departure from Marillion although thought about for a long time wasn't planned and in retrospect I could have left in a less dramatic and more carefully thought out fashion. My heart as always ruled and I suddenly found myself without a pay check and with a huge mortgage. The house sale cleared the debts and the gave me funds to back what was to be a very expensive reckoning with reality. My Mum and Dad found my new lair. A farmhouse outside the county town of Haddington in East Lothian. I'd married my wife Tammi in the local abbey in 1987 and I was only a few miles away from where I'd been brought up in Dalkeith. It felt like coming home.
The house was badly run down but had outbuildings in which I could retreat and plan my first foray as a solo artist. The "Vigil.." album was put together in the only dry shed on the property.
A building which had been used to house Italian prisoners of war and in later years a children's playroom. As we worked on the album ideas began to hatch and plans started to form and the outbuilding made it's first transition from a rehearsal room into a well equipped demo studio. The imagination and impetuosity that had brought me to Spittalrig farm set down to fulfilling the dream of creating my own recording studio complex where I could settle down to building the "Great Third Career". First there was an album to deliver and in the Summer of 89 I went down to the Townhouse Studios in London to record "Vigil.." with producer Jon Kelly who had been introduced to me by John Cavanagh an ex EMI executive, great friend and manager since I went solo! Jon had produced amongst others Kate Bush and Chris Rea and I felt that his style would be sympathetic to the new material. His job was to translate me into a solo artist. He did so with style and the band that was to tour the album started to come together. Mickey was obviously in and he was soon joined by Frank Usher who I'd promised to audition if I ever went solo. I made the promise in 1980!! Hal Lindes from Dire Straits came in at writing stage on suggestion of Chris Kimsey who had produced two Marillion albums and as well as being a close friend was also one of the many "Guardian Angels" looking after this fledgling solo artist! Hal played guitar in the studio but was unwilling to go on the road. His place was to be taken by Robin Boult, an old friend from Aylesbury, my old stomping ground in the early 80's.
Mark Brzezicki from Big Country came in on drums and John Giblin came in on bass after a welcome suggestion from Jon Kelly who'd worked with him on other sessions. Mark I'd known for some time as the Dunfermline based band and myself had crossed paths on many an occasion in the 80's. Their guitarist Bruce Watson played in the band at the first solo concert in Lockerbie, a charity event on March 21st 1989 in aid of the Disaster Fund. Also present were John Keeble, Spandau ballet's drummer ( who played on the version of "Internal Exile" recorded during the EMI "Vigil.." sessions), Janick Gers, who was about to join Iron Maiden (he was to co-write and play on "View From the Hill" on the "Vigil" album sessions), Hal, Mickey, Frank, Neil Hay (well known Scottish session bass player who was to tragically die of cancer a few years later) and Alison Jones on violin.
High points on those 89 sessions were singing "live " with a full orchestra on the "Gentleman's.." recording at Abbey Road Studio 2 (you can hear my knees shaking on the take!) and using a horn section for the first time on "Big Wedge". I had started to explore possibilities and although the album was a "Hangover" from the Marillion style there was enough individuality to encrypt a solo performance. I was proud to deliver the album to EMI in the late Summer of 89.
I thought an October release would be perfect and the touring outfit was put together, Steve Brzezicki, Mark's brother coming in on bass and Robin replacing Hal. We were ready for lift off! It was then that the dark clouds started to gather. I was asked to delay the release of "Vigil.." in order not to clash with my ex-bands new release. EMI wanted to delay the release until early 1990 to avoid a conflict at retail which had already established itself in the media through coverage of a messy and bitter "divorce ". Spring 90 was suggested and I went along with the schedule on the understanding that EMI would release a single with full support to enable me to tour in the Autumn and release the album with a world shattering promotion campaign!
"State of Mind" was released debuting in the UK Top 40 and swiftly dying. Rather than going in with a "bullet" like most of my singles to date it went in with an anchor! I'd found it very hard coming to terms with my new career and a Highlands and Islands tour of Scotland drew great reviews but more funds as not for the first time I would take a gamble on a daring path. I took a concert hall production into small venues and got a kicking in return. The tour was ambitious and expensive and it was only when I finished the full European tour that I realised just how expensive! "Big Wedge" was released January 89, hit Top20 UK and nose-dived! The album did well and "Gentleman's" also hit Top 40 UK in late Spring. Funds were running out fast and the advance for the second solo album were never going to cope with the overheads! It was doubtful whether I could even record the album never mind keep myself together for another year.
It's a very long boring story and embarrassingly well documented in the press during 91 but in the Summer of 90 the day after selling out the Albert Hall in London I entered litigation with EMI records as I attempted to extricate myself from what I considered to be an unlawful contract! Lawyers were loosed from chains after discussions on renegotiation broke down and within a heartbeat I was shackled by a High Court injunction forbidding me from releasing recordings. Because of the nature of the existing EMI contract I was unable to record unless I financed it myself and without release of new material and backing of a Record company concert Promoters were unwilling to back a tour! I was unable to work and the promising new solo career effectively stalled. This was threatening to be a still birth. The main problem was no-one explained to me fully about the costs of legal proceedings and my team were relying on a bluff to secure victory! The big problem was that the opposition knew our strategy! My funds were diverted to the building of the new studio "The Funny Farm" as named by John Keeble. I'd already been mugged by the recent tour so my position wasn't spectacular! I was playing poker with millionaires and when the stakes were raised I had to leave the table, tail between my legs and a huge legal bill to go with it! The Winter of 1990 was the starkest in my personal history. My wife was pregnant with our first child who appeared to know the score and was refusing to enter this world of gloom and despondency that belonged to her head strong father! She was eventually born on the 1st January by Caeserian section.
I will never forget that period in my life and one moment in particular is sharp in memory, lying naked on the floor one very early morning with Tammi, both of us crying our eyes out as we didn't know if we'd have a house to live in when our child was born as the banks were putting pressure on us to settle the loans. The only work I'd get in the next few months was an acting role in a BBC drama, "Jute City". It was on set that I received the phone call from my lawyer telling me that unless I could gather ?750 000 by Thursday the case was over and I would have to settle the affair with EMI. I didn't need an accountant to tell me the game was over.
Polydor had been in the wings for some time but avoided getting in the firing line! When they came on board with the deal I was immediately in serious debt to the Company as they paid all my legal expenses as well as the"buy out" for my contract from EMI.
The personal advances brought me back my debts to a near realistic level but the problem was that my creative head was polluted with "Legalese" and business concerns rather than with musical direction and song writing. I was absurdly bitter with the music industry and I lost contact with the artist for quite a time. "Vigil.." was daunting, the second album "Internal Exile" was overwhelming. The writing sessions happened over distinct periods of time and so were fragmented in style. I basically didn't know what I was doing and in what direction I was supposed to be traveling! The result was an album of wildly different styles. Rather than a statement of direction this was a roundabout. Previously suppressed folk influences combined with Progressive and Country feels to leave me in a hinterland that producer Chris Kimsey would do his best with trying to find a thread of stylish continuity. It would be the first album recorded at the "Funny Farm Studios" (now named "Millennium Studios") the construction and equipping of which was financed by massive bank loans and "friendly" investors both of whom would tie me to a rock at low tide.
Chris was brought in to sort me out at my request. His work on the two "big" Marillion albums made him an attractive proposition to Polydor and I trusted him to get me back on line on both a personal and professional footing. Ted McKenna from the Sensational Alex Harvey Band came in on drums until he was replaced mid album by Ethan Johns. There was a lot of pressure on the team and the studio was untried. We were the guinea pigs. Problem after problem came at us and Chris wasn't used to an environment that was being designed and tested around him as we worked. German engineer Thomas Stiehler was also on board for the album having assisted Chris on "Misplaced Childhood". He was convinced the studio was haunted and he consulted a medium in Germany who told him to smoke the rooms out with burning Italian sage!
It worked and the gremlins were banished!! The album was unbelievably completed in time and delivered to an enthusiastic Polydor Records. Mark Wilkinson had once again designed the cover, a homage to all those "Boy's Own" books that I used to get at Christmas as a kid. I was rediscovering my Scottish roots at the same time as a new wave of Nationalism was taking hold of our country. A general election was in the wings and the media were nervous of this new rise in demand for Home Rule. A bad time to release an album of pro Scottish viewpoint!
I hadn't had an album out since early 1990 and I needed to tour and get back into the public eye. The album was released quickly after recording. Too quick in retrospect (Isn't that so easy?). "Internal Exile" the first single followed the pattern of "In/Out" as did the second single released in January 92; "Credo". I hoped that the relative success of "Credo" could be built upon but the indecision on singles that followed cost me dearly. "Lucky" was ditched in favour of a cover version of "Something in the Air" but the momentum had gone and it died a quiet death. Few mourned! I had under-estimated the damage that the EMI affair had done and my interviews at the time made increasingly boring reading as I tried to educate all and sundry about the music business and how it had done for me! I cringe when I think about them. No wonder people switched off! The writing on the wall was in fluorescent paint! The next album had to hit home or the "act" was going to be written off. I wasn't ready to record the next studio album and the bitterness and severe lack of confidence badly affected my writing capability. I elected to indulge myself in a covers album "Songs from the Mirror" in an attempt to rediscover my love of music which had all but evaporated during the litigation and aftermath. It was recorded in the Summer of 1992. I'd just fired my manager John Cavanagh and had taken on ex-Yes manager Brian Lane in order to get some weight and muscle behind my career. The year had started badly as after our first family holiday for years I was told while in Kenya that Andy Field one of my oldest and best friends as well as being my production manager and "Guru" had died after a long fight with cancer. Soon after Mickey Simmonds, who was still my principal co-writer, resigned to work with Mike Oldfield and to cap it all I lost my publishing contract with it's advances which were planned to take me through the rest of the year!
The Polydor advances disappeared quickly as the "Internal Exile" tour had ruptured the finances after the UK tour promoter went bust just as I was finishing production rehearsals in Elgin. Once again finances were governing decisions and that pressure on top of a huge loss of confidence from my litigation and disappointing sales made creative writing a difficult proposition. "Songs From The Mirror" bridged the gap and filled the release schedule and gave me time to get myself together for the next studio album which was to be called "Suits".
A confrontation with Polydor occurred as they wanted the new studio album first. The rift was never healed and could only have been through a hit album whose sales would pacify the accountants questioning my existence on the label. The questions were answered in March 93, two months after release of "Songs". Thus ended my flirtation with Polydor and my relationship with the Major record labels as I couldn't face touting myself around the mainstream companies another time. Since the EMI and Polydor fiascoes my reputation as a "Company friendly" artist had disappeared and my recent sales weren't attractive enough to securely hook another "golden deal"! I had become slightly persona non grata so instead opted to go "Independent", forming my own Record company Dick Bros after advice from a medium!
Once again the Spirit world entered my sphere of thinking and a good friend of mine phoned up out the blue and told me he had to speak to me. Bill was the same guy who had advised me on the studio after we'd become convinced that the buildings were subject to a ghostly infestation! This time I was presented with a message from my Grandfather who to cut a long story short advised me to "take all my business ideas through to manufacturing and sell the product myself". It was all I needed to excite the plan I had been thinking about and promptly set up The Dick Brothers Record Company Ltd as the new vehicle for my career. Dick Bros had been the family garage business in Dalkeith, Midlothian which had been started by my Grandfather and after his death run by my father Robert Dick. It was a strange feeling asking my father in 93 if I could name the new company after the family business and emotions were very high on the release day of the first of my own titles, "Sushi", a double live CD taken from the concert in Utrecht Holland ironically on the very day that Polydor dropped me!
Live work had become our staple means of support since 92 when I set out on a club tour of Scotland to help plug the gap left by Polydor's reluctance to provide anymore advances. The live work continued throughout 92 and into 93 and finally touring was supplying a steady form of income. I'd recorded a number of shows in recent years and my live reputation and loyal fan base was a killing ground for Bootleggers. The release of 5 titles in 1993 on a label called "Battleside" which I'd set up to deal with licensing the albums provided enough money to keep me in house and home and also to support the recording of the new studio album which we'd been writing and rehearsing live throughout the previous year. These titles also undermined the Bootleggers who quickly lost interest in producing their lesser quality and more expensive titles. With the arrival of Dick Bros it seemed appropriate to sign in with another live show and "Sushi" was well received, selling enough copies to pay for the promotion and marketing of the "Suits" album and the video for "Lady Let It Lie" the first single from the project released in April 1994, a month before the album which would reach No1 in the UK independent charts. The band had changed a lot since "Vigil..". Mickey Simmonds had been replaced on keyboards by Foster Paterson a well known Scottish session player who like the ever-present Frank Usher had also worked with John Martyn as well as Julia Fordham and Camel. Davey Paton, ex Pilot, Elton John and Bay City Rollers (!!) had arrived on bass during "Internal Exile" and with Robin Boult had made up the touring outfit of recent years. The drum stool which forever revolved was now occupied by Kevin Wilkinson (Ex Waterboys and China Crisis).
The writing team on "Suits" had been joined by producer of "Songs" James Cassidy who I'd originally met while recording tracks for Jeff Wayne's "Spartacus", the not as critically acclaimed follow up to the 70's classic "War of the Worlds"! "Lady Let It Lie" and "Fortunes of War" derived from this period which was as always transitional! Grooves came to the fore on "Songs" and the "Suits" album took their lead. I was getting braver but not as brave as I could have been. As the first studio album on Dick Bros it played a bit safe but the song writing was developing. I was following the urge to write songs rather than "pieces" and James introduced me to a new simplicity with regards songwriting. Owning my own studio had given me the freedom to create and record relatively inexpensively and I would never again be at the mercy of lack of funds to record an album. It was a commercial studio and although part of my house had played host to outside projects as well as my own. "Suits" was recorded in the Autumn of 93 and I was excited with the creative process again. "Songs From The Mirror" had played it's part in my rebirthing and the rediscovery of the magic of music pulled me into new areas under the guidance of James Cassidy. There were still the "Epic" tracks but also an awareness of classic songwriting mixed with solid rhythms and a different approach to lyrics as well. I was not afraid of relying on hooks or repeating phrases. Altogether a less "wordy" approach came to the fore. The groove had arrived after a long time coming. I believe that the roadwork had given the band less of a "session" feel and it was a tight unit indeed that recorded the "Suits" album.
As I was now to find, producing a great album means nothing if no-one hears it. The realities of running a label hit hard and fast. The promotion and marketing costs were tough to raise and once again the road called as we plugged the album anywhere and everywhere we could. Acoustic sets in record shops led me into a full acoustic tour that would provide the set that would be used on the second single release. I decided to go for "Fortunes of War" and release the single as a digipack capable of holding 4 CD's that would be released over a 3 week period each CD having a different version of the lead track in order to fulfill the chart regulations. It was an attempt to keep the single in the charts for longer than a week. The shops didn't understand the release pattern and the single followed the others into the nether regions of the charts. The 4 CD single since deleted now provides the tracks which make up the "Fortunes of War" acoustic live set released in 1998.
The touring was incessant and grew into a worldwide venture. The album sold well considering the backing it had and I knew that I needed something to sustain the impetus and at the same time get me into areas I'd not touched. I decided to go for a "best of.." set over two albums with the title of "Yin" and "Yang". 13 out of the 26 tracks were re-recorded in the Spring of 95 and released that Autumn spearheaded by the single, "Just Good Friends", a re-recording of the "Exile" album track which would now become a duet with Sam Brown. You know the rest. The tour finally finished in May 97 just after we returned from a South American tour and the ultimate experience that would influence the next album "Sunsets on Empire", a two week tour of Bosnia playing to the IFOR troops who were implementing the Dayton Peace Agreement. After so long away from writing material the need to "communicate" or "release" was crushing. I'd decided to change producers and the principal writers in order to continue the development which had began on the "Suits" sessions. I also recognised the need for an ambitious album. This wasn't a time to play safe and after meeting publisher Dave Massey at Midem, the industry's convention in Canne, I was introduced to the material of Steve Wilson who had two projects, "Porcupine Tree" and "No-Man", both of which I found interesting. I met Steve in London on my return and we set about organising the ideas that would comprise the bulk of the "Sunsets" material.
Writing began in earnest in June and the recording swiftly followed. Steve would not only produce but also play the main keyboards and guitar parts assisted once again by Robin, Frank, and Foss but augmented with the "new" rhythm section of Dave "Squeeky" Stewart and Ewen Vernall. Dave had arrived after the "Suits" recording when Kevin Wilkinson was offered a world tour with the Proclaimers. He'd auditioned when Kevin got the job but I thought he was too green then. In 95 he was to fit in perfectly and his style has become an important part of the overall band sound. The most flexible and talented drummer I have ever worked with he's also lasted the longest in the position! The bass position also changed during the "Yin/Yang" tour when David Paton left under dubious circumstances to join Elton John requiring his replacement to be brought in at short notice from the recently defunct Deacon Blue.
Steve was a principal mover in my career and next to Mickey Simmonds played an essential role in my never ending musical education. Loops and grooves were to the front and samples mixed with a new aggression and confidence to create what I consider to be my finest album since "Vigil". The songs, writing and recording, the production and the performances were first class and at last I was looking at the breakthrough as a solo artist into the mainstream industry. "Brother 52" the first single drew great reviews but failed to get airplay and subsequently disappeared though leaving good vibes for the album in it's wake. "Sunsets on Empire" was released a month later in May 97 with once again great reviews generally but failing to convince the media and masses that this was a breakthrough album. Hampered by lack of funds buying promotion and advertising was out of the question so once again I resorted to the road. The gigs were outstanding and everyone who discovered the album loved it. 115 dates in 22 countries later it was December 97 and the results weren't as I had hoped for. The formula wasn't working in my favour and due to circumstances my ambitious plans had once again not paid off. The debts from the tour were too much to bear and the prospect of further touring depressed me. It was time for a rethink and a revamp of my ideas and ultimately my approach to writing and recording. I was producing great material in my opinion and an invitation to one of Miles Copeland's writing retreats in France convinced me that it was time to concentrate on the artist rather than the business activities that had overwhelmed my energy resources in recent years. The recording studio was put up for sale and I actively looked for a new label that would be sympathetic to my music and at the same time retain the "Indy" values I felt comfortable with.
I'd come back from the "Castle", Miles' Chateau, with 6 songs, 5 of which were suited to my new project. With 10 years as a solo artist behind me it was also time to put together a collection of songs on one album that truly represented my output over the period. A chance meeting with Tony Turrell and Mark Daghorn, two writers and dance remixers led to the idea of working on one of their ideas, a 27 minute slab of groove and atmospherics and turning it into a miasma of musical styles corresponding to my own eclectic tastes. They were up for it and I brought in Elliot Ness, who had worked on the "Sunsets" project to engineer and produce my last solo album at Millennium Studios. "Tales From The Big Bus", another double live CD, this time from the 97 tour was released to follow up the "Official Bootleg" series which now had 7 titles on Dick Bros. The recording started in July and by the end of August I had the new album "Raingods With Zippos" well underway and a catalogue signed to Roadrunner Records.
It was agreed that the entire Dick Bros and Fish solo catalogue would be released in 98 with the project built round a 'best of' album. As I looked back on a career that has spent more time in the doldrums and darkness than in the bright lights of public awareness I realised that I had metamorphosed into a "real songwriter". The styles were varied and still "progressive" in nature but at the heart of it all there were great songs. Most of this material is relatively unknown to most people and the collection being a reflection of my widely different creative impulses and influences could only have one title. I hope that "A Kettle of Fish" provides an indication of where I'm at and where I've been during all those years I was pronounced missing in action. It's not been easy as you've surmised but I've always believed that in the end it would work out. With the worldwide release of all this material and a new album waiting in the wings for release early in 1999 I can only hope that what the Iranian palm reader saw in my hand is about to come true!