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like a classical acoustic guitar. The pair soon ran into technical difficulties as the TEAC machines were creating static clicks that were heard upon playback, causing visits from numerous people who were able to fix the problem. Upon fixing, they put down tracks for all seven sections of "D Instrumental", four parts to the Henry suite, an outline of "Silver Song", and an untitled improvised guitar instrumental. The late 1974 sessions included the first overdubs recorded which featured the first of several additional musicians on the album. Phillips had his younger brother Robin play the oboe for "D Instrumental" (now called "The Geese and the Ghost") and
Hackett's brother
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the instrument was too large to fit through the door. The problem was solved after the owners of the neighbouring barge agreed to have the timpani recorded on their boat with extended microphone leads run through to the studio. John
Hackett recorded his second flute session on the Argonaut. He was the subject of a prank from Phillips, who initially handed him a flute part that he described as "
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the latter returned to
Genesis commitments, after which Phillips took charge over the album's direction and expanded its foundation of 12-string guitar based pieces towards folk and progressive rock using techniques he had learned from his orchestration tuition. Among the demos they developed during this time was their hymn tune "Take This Heart", released by
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released a 3-disc
Definitive Edition of the album. Disc one contains a new stereo remaster completed in 2015; disc two contains the bonus material as previously released in the 2007 and 2008 reissues with the previously unreleased track "Only Your Love" from 1973, originally intended to be the B-side
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in 1990 and contains the demo of "Master of Time" as a bonus track. On 20 July 2007, the album was reissued in Japan as a 2-CD edition by
Arcangelo Records, presented in a limited edition mini-vinyl sleeve. The first disc features a new remaster of the album with the 52-second "Lute's Chorus Reprise"
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The majority of the mixing duties were completed by
Phillips with assistance from Heyworth after Rutherford resumed working with Genesis. The second half of "Collections" and "Sleepfall: The Geese Fly West" still required further work, yet as the album neared completion in early 1976 it was presented
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had injured his hand, which pushed the opening dates back one month. With a narrow space of time in which to work, Rutherford rejoined
Phillips in the studio and continued recording, which began with "Which Way the Wind Blows", the first track recorded, which features an electric guitar made to sound
319:"Autumnal" was an orchestral piece that Phillips had recorded with the orchestra at Guildhall School, but it was later removed from the final track listing due to the dissatisfaction from Charisma management. "Master of Time" was then left off as Phillips and Rutherford had run out of recording time.
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within ten days of leaving the group. He put demos of these songs to tape at the studio set up in his parents' home between late July and early August 1970, receiving assistance from friends Harry
Williamson and former Genesis roadie David Rootes. Having put down these early ideas Phillips began to
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joined the project at this time, providing assistance and encouragement. Many of the session musicians on the album were students at
Guildhall who had also played on the orchestra session for "Autumnal". One of them was Martin Westlake, who arrived at the boat to record the timpani parts but found
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playing the flute. The latter had completed his education and was invited by
Rutherford to play on the album at a time when he considered pursuing music as a career, taking it "as a welcome sign that I had made the right decision!" Upon Rutherford's return to Genesis, Phillips continued working by
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and in the spring of 1972, the two agreed to work towards a potential joint album using Phillips's demos and other 12-string guitar pieces they had written before and during Phillips's time in Genesis. Development continued in August 1973 when Phillips and Rutherford met in their spare time before
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Phillips resumed with recording on 7 April 1975, bringing in Rootes to assist in technical duties while further overdubs and other final arrangements were put down. After Genesis wrapped up touring in May, Rutherford reunited with Phillips, and the pair decided to place the finished overdubs onto
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served as the template for nearly all of Phillips' solo work, and praised it as "orchestrated with innocent and idiosyncratic delicacy; the flavorful sonorities of woodwind against chiming spider-webbed guitars crossed an allusive, stylized folk texture with the churchy chord sequences that had
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A&R man Simon Draper in April also came to nothing. It remained shelved due to the difficulty Phillips had in getting it released elsewhere, recalling others had deemed it "'pleasant and euphoric, but not instant'". Meanwhile, Phillips secured work in various projects and recorded his first
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In the spring of 1974, Phillips began to select the material that would be used for the album. This included the titles: "Which Way the Wind Blows", "God if I Saw Her Now", "Henry: Portraits from Tudor Times", "D Instrumental", "Master of Time", "Collections", "I Saw You Today", and "Autumnal".
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and had "one of those strange revelations" and realised he was "terribly limited" and "narrow" as a musician, and declared to himself that his guitar playing lacked enough technique. Phillips tackled this by halting development on his songs and taking lessons in piano and classical guitar, and
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on speed" with notes too difficult for him to play, leaving him "quake inside" for several moments before he received the real arrangement. The final session on the boat was for the vocals on "Triumphant Return", formed of several of Phillips's friends who were invited to celebrate the end of
451:. Phillips was pointed to Cross by a friend, and found him working alone in a converted greenhouse in his parents' garden. Phillips remarked that "Peter had this gift of English Romanticism with this kind of – equally English – passion for eccentric gadgets – you know,
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381:, London, sessions began there in July. Recording soon ran into problems as the studio was still in its infancy and suffered from numerous malfunctions, plus incidents of the boat being hit by another during recording, causing restarts. Phillips's longtime producer
534:. It wasn't a phenomenal-album-that-didn't-make-it-because-of-punk, but punk – or rather attitudes to it – didn't help. I met a guy years later at Nottingham University who told me that he'd sold his original copy of
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section added to "Henry: Portrait of Tudor Times", and the second disc contains 14 tracks of previously unreleased demos, out-takes, and bonus tracks. This edition was released in the UK in a standard jewel case by
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and worsening stage fright. He began to write new material at a considerable pace, completing the arrangements to "Which Way the Wind Blows", "God if I Saw Her Now", and "Henry: Portraits from Tudor Times" on the
315:. In late 1973, Phillips and Rutherford had completed writing the album during a short break in Ireland, the "Misty Battlements" of the Henry suite being the last section worked out.
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himself which involved the basic tracks put down for "God if I Saw Her Now" on 26 November, and working on additional parts for the songs already put down until Christmas.
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compositions and in late 1976, submitted his application to study for a music degree. He then received unexpected news that Marty Scott of the US-based independent label
337:, Surrey. To finance the project, Rutherford had pitched the album to Charisma and the label agreed to an advance of £3,000 which they used to purchase two reel-to-reel
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333:. After choosing the final track running order, the two agreed to begin recording the basic guitar parts at Send Barns, the home of Phillips's parents in
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in 1975, and the prospective 1974 release of the single "Silver Song" with "Only Your Love" on the B-side, that included Genesis drummer
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cover art remarkably ill-suited to the contemporary market. Phillips later recalled, " Tony Smith went round everywhere to try and sell
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The first recording sessions took place in 1974 when Rutherford had spare time surrounding the recording of the Genesis album
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After Rutherford left the project for upcoming touring commitments, matters changed in October 1974 after Genesis guitarist
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to record the incomplete woodwind sections at Send Barns in October. This was followed by a final overdubbing session at
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847:– acoustic 12-string, 6-string, and classical guitars, bass guitar, organ, drums, timbales, glockenspiel, cymbals, bells
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because it wasn't cool. He didn't want to be seen with it." It failed to chart in the UK, but reached No. 191 on the
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in November 1973 with producer Rhett Davies, the former dating back to 1969 as a parting farewell to Genesis drummer
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in London. He also gave music lessons to pupils at two schools in Surrey, and later called it his "student period".
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to Charisma, and the label chose not to release it, leaving the album unfinished. A meeting with
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on "Henry: Portraits from Tudor Times", "Chinese Mushroom Cloud" and "The Geese and the Ghost"
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in London with engineer Anton Matthews in the following month, and the album was mastered by
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ensured its distribution to other territories, including New Zealand, Japan, and Argentina.
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in the United States. It was originally intended to be an album by Phillips and his former
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813:– acoustic 12-string, 6-string, classical, electric 6 and 12-string guitars, bass guitar,
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428:. A search to find a willing UK distributor proved to be too difficult, so his manager
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853:– lead vocals on "Which Way the Wind Blows", "God If I Saw Her Now" and "Silver Song"
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Phillips remained in close contact with his friend and Genesis guitarist and bassist
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studied orchestration and harmony over the course of the following four years at the
585:. Included is a poster and a 24-page booklet with photos and extensive liner notes.
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recording. They are collectively named the Barge Rabble on the album's liner notes.
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take a greater interest in classical music. At one point, he listened to a piece by
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1124:(Media notes). Anthony Phillips. Esoteric Recordings. pp. 9–13. ECLEC 32482.
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Charlie Martin – cello on "Chinese Mushroom Cloud" and "The Geese and the Ghost"
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Kirk Trevor – cello on "Chinese Mushroom Cloud" and "The Geese and the Ghost"
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on "God If I Saw Her Now", "Collections" and "Sleepfall: The Geese Fly West"
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16-track tape to facilitate the parts yet to be recorded. Having learned
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of "Silver Song"; and disc three is a DVD containing the album mixed in
545:. Philips said he was told it sold just under 100,000 copies worldwide.
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was the first of many Anthony Phillips albums to feature cover art by
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on "Henry: Portraits from Tudor Times" and "The Geese and the Ghost"
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on lead vocals and drums. Demos of the latter two were recorded at
1175:(Media notes). Anthony Phillips. Virgin Records. 1977. CDOVD 315.
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Nick Hayley (with "friend") – violin on "The Geese and the Ghost"
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on "The Geese and the Ghost" and "Sleepfall: The Geese Fly West"
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Credits are adapted from the album's 1977 and 2008 liner notes.
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is the first studio album by English musician and songwriter
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The Music's All that Matters: A History of Progressive Rock
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David Thomas – classical guitar on "Master of Time" (Demo)
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In 1975, recording relocated to a canal boat in London's
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was released in March 1977. This was during the rise of
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Private Parts & Pieces VII: Slow Waves, Soft Stars
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tape machines, a mixing desk, and outboard equipment.
1364:Private Parts and Pieces IV: A Catch at the Tables
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1484:Missing Links Volume 4: Pathways & Promenades
1336:Private Parts and Pieces II: Back to the Pavilion
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1438:Private Parts & Pieces IX: Dragonfly Dreams
1185:: CS1 maint: others in cite AV media (notes) (
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1213:. Quartet Books Limited. pp. 310–1.
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18:1977 studio album by Anthony Phillips
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940:Barge Rabble – voices of several friends
925:, bulk eraser on "Master of Time" (Demo)
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1394:Missing Links Volume 1: Finger Painting
1376:Private Parts and Pieces VI: Ivory Moon
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892:on "Henry: Portraits from Tudor Times"
272:after three years citing illness with
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967:Mike Rutherford – producer, engineer
654:"Henry: Portraits from Tudor Times"
289:Guildhall School of Music and Drama
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1535:Albums produced by Mike Rutherford
953:, piano on "Master of Time" (Demo)
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902:on "Sleepfall: The Geese Fly West"
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1053:"Anthony Phillips Chart History (
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408:expressed an interest to release
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666:(iv) "Lute's Chorus (Reprise)"
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330:The Lamb Lies Down on Broadway
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1146:"It's That Candour Moment..."
1144:Hedges, Dan (26 March 1977).
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1464:Archive Collection Volume II
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268:In July 1970, Phillips left
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1448:Archive Collection Volume I
562:History of Progressive Rock
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1322:Private Parts & Pieces
1173:The Geese & the Ghost
1122:The Geese & the Ghost
943:Ralph Bernascone – soloist
937:Jeremy Gilbert – conductor
746:"The Geese and the Ghost"
640:"Which Way the Wind Blows"
594:All tracks are written by
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69:October 1974–November 1976
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1234:The Geese & the Ghost
1065:. Retrieved 3 June 2021.
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663:(iii) "Misty Battlements"
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863:Lazo Momulovich – oboe,
732:"Chinese Mushroom Cloud"
672:(vi) "Death of a Knight"
1540:Passport Records albums
1530:Anthony Phillips albums
1428:The Living Room Concert
1120:Dann, Jonathan (1977).
991:Geoff Banks – equipment
976:Anton Matthews – mixing
669:(v) "Henry Goes to War"
566:The Geese and the Ghost
532:The Geese and the Ghost
445:The Geese and the Ghost
1545:Vertigo Records albums
985:Nick Blyth – equipment
693:"God If I Saw Her Now"
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264:Background and writing
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1315:Wise After the Event
1209:Stump, Paul (1997).
988:Tex Read – equipment
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880:Wil Sleath – flute,
833:, pin piano, drums,
660:(ii) "Lute's Chorus"
464:Professional ratings
218:Wise After the Event
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997:– cover design, art
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578:Esoteric Recordings
560:Paul Stump, in his
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157:Hit & Run Music
1489:Ahead of the Field
929:Vivienne McAuliffe
914:Martin Westlake –
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583:5.1 surround sound
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1009:Chart (1977)
1007:
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921:Tom Newman –
920:
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787:
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773:
770:
768:"Collections"
767:
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751:
748:
747:
745:
741:
737:
734:
731:
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711:
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657:(i) "Fanfare"
656:
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635:
631:
628:
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621:
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589:Track listing
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486:
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469:Review scores
467:
456:
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450:
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437:
435:
431:
427:
423:
419:
415:
411:
407:
403:
402:library music
398:
392:
389:
384:
380:
379:Little Venice
376:
367:
366:Little Venice
362:
358:
355:
350:
349:Steve Hackett
345:
343:
340:
336:
332:
331:
320:
316:
314:
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306:
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297:
292:
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284:Jean Sibelius
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101:
97:
96:Little Venice
87:
83:
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68:
64:
53:
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40:
36:
32:
27:
22:
16:
1503:
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1307:
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1229:
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1172:
1152:. Retrieved
1148:
1121:
1061:
1054:
1021:
958:
957:
871:John Hackett
851:Phil Collins
835:glockenspiel
803:
802:
799:
626:"Wind-Tales"
593:
575:
565:
561:
559:
547:
540:
535:
531:
519:
518:
444:
443:
409:
393:
371:
346:
328:
326:
317:
305:Phil Collins
293:
267:
255:
233:
232:
231:
216:
208:
207:
185:David Thomas
39:Studio album
15:
1458:Radio Clyde
1423:Gypsy Suite
1300:Solo albums
995:Peter Cross
982:– mastering
923:heckelphone
865:cor anglais
573:'s music."
449:Peter Cross
313:John Silver
1519:Categories
1400:Slow Dance
1154:24 October
1035:References
980:Greg Calbi
959:Production
757:Rutherford
735:Rutherford
430:Tony Smith
422:Greg Calbi
388:Stravinsky
375:Tom Newman
368:(pictured)
196:chronology
77:Send Barns
1471:Field Day
1062:Billboard
1055:Billboard
1022:Billboard
1014:position
951:harmonium
898:– flute,
827:harmonium
823:Mellotron
804:Musicians
796:Personnel
721:Writer(s)
615:Writer(s)
541:Billboard
536:The Geese
440:Cover art
323:Recording
256:Billboard
249:bandmate
117:Folk rock
1478:Wildlife
1238:AllMusic
886:recorder
839:timbales
819:bouzouki
815:dulcimer
752:Part II"
708:Side two
602:Side one
483:AllMusic
455:, etc."
163:Producer
66:Recorded
51:Released
41: by
1291:Genesis
916:timpani
900:lyricon
890:piccolo
884:flute,
882:baroque
831:celeste
571:Genesis
564:, said
459:Release
342:4-track
270:Genesis
247:Genesis
222:(1978)
213:(1977)
58:1977-03
56: (
1217:
1149:Sounds
1002:Charts
785:
771:
749:Part I
724:Length
696:
643:
629:
618:Length
528:rococo
477:Rating
474:Source
335:Woking
136:Length
100:London
86:Surrey
82:Woking
74:Studio
1389:Tarka
1329:Sides
1284:Bands
1057:200)"
875:flute
760:15:40
718:Title
685:12:11
612:Title
153:Label
109:Genre
1343:1984
1215:ISBN
1187:link
1156:2016
1028:191
1012:Peak
858:oboe
788:4:33
774:3:07
738:0:46
699:4:09
646:5:51
632:1:02
524:punk
354:John
339:TEAC
1236:at
1024:200
1019:US
714:No.
608:No.
543:200
424:at
258:200
1521::
1195:^
1183:}}
1179:{{
1164:^
1130:^
1070:^
1059:.
1043:^
888:,
873:–
837:,
825:,
817:,
779:4.
765:3.
743:2.
729:1.
690:4.
651:3.
637:2.
623:1.
260:.
145:19
141:47
98:,
84:,
1269:e
1262:t
1255:v
1223:.
1189:)
1158:.
143::
102:)
94:(
88:)
80:(
60:)
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