Anthony Phillips ‎– Wise After the Event (1978)

Wise After the Event is the second solo album by English guitarist/composer Anthony Phillips, released in May 1978 on Passport/Arista.

Sound: The album’s sound is characterized by intricate acoustic guitar work, layered keyboard textures, and melodic arrangements. Vocal tracks feature Phillips’s tenor. The compositions incorporate both instrumental sections and song structures. Dynamic shifts are present, ranging from delicate passages to more layered, rhythmic sections.

Production: Rupert Hine produced the album. The production emphasizes clarity of instrumentation and a balanced mix of acoustic and electronic elements, creating a defined soundstage. Hine produced the album in sequence with 1977/78 titles by Cafe Jacques (Round the Back, International) and his own Quantum Jump (Barracuda).

Instrumentation: Anthony Phillips performs guitars (acoustic and electric), keyboards, and vocals. The album features drummer Michael Giles (King Crimson, McDonald & Giles), soprano saxophonist Mel Collins (Camel, Kokomo), and Hine’s Quantum Jump bandmate John G. Perry (Aviator, Caravan, Curved Air, Gringo). Hine contributes percussion and additional instruments.

Place within Catalog: Wise After the Event followed Phillips’s debut The Geese & the Ghost (1977) and Private Parts & Pieces (1978), placing it as his third studio release. It further established his solo compositional style post-Genesis, focusing on multi-instrumental arrangements and detailed songcraft.

A1. “We’re All as We Lie”

4:34 | acoustic ballad | medium-slow, swelling

“We’re All as We Lie” uses a playful, whimsical, yet potentially cynical golf metaphor to explore themes of self-deception, perception, and the nature of truth and wisdom. Musically, the song features Phillips’s characteristic intricate acoustic guitar work and melodic sensibilities.

The central lyrical motif, “So, we’re all as we lie / We’re all as we’re lying,” directly refers to the literal act of hitting a golf ball “as it lies” on the course, regardless of its position, but cleverly extends to the metaphorical idea that humans operate based on their own perceptions, interpretations, or even self-delusions. It implies that reality can be subjective or shaped by how we choose to present ourselves or understand situations.

The song’s verses continue the surreal golf game explored later in “Paperchase,” featuring various historical figures (e.g., Harold, Tostig, Luther, the Pope) engaged in absurd disputes over the game, linking these to broader philosophical or historical conflicts. This reinforces the idea that even grand struggles can be reduced to subjective “lies” or interpretations of the “game.”

Opening Verse (August Contest):

August saw a contest fit for Kings
From far and wide they came to trade their swings
Little grubs with stone-age clubs and tanners’ sons
With foxes’ gloves
They came face to face the stiffest coarse since Tring

This section describes a grand, almost absurd golf contest in August, featuring diverse and unusual participants from various backgrounds (ranging from “stone-age clubs” to “foxes’ gloves”). It sets a whimsical tone, highlighting a challenging and unconventional golf course.

Harold and Tostig Verse:

Harold took an eight-iron at the first
Hopped the hedge while Tostig chipped and cursed
Sliced into a sticky patch and, playing out, he’d met his match
When lettuce leaves had made the crowd disperse

This passage focuses on a specific, comedic incident involving two historical figures, Harold and Tostig, during the golf game. Harold struggles with a shot, and their play is interrupted by a bizarre event involving “lettuce leaves,” underscoring the surreal and unpredictable nature of this metaphorical contest.

Chorus:

So, we’re all as we lie
We’re all as we’re lying
No, don’t tell me it’s time
It’s all in the timing
Getting wiser, so much wiser, introspected ostraciser
Drinking up with no holes barred to play..

The chorus encapsulates the song’s central theme: “We’re all as we lie / We’re all as we’re lying.” This double entendre suggests that reality is subjective, influenced by one’s perspective, or even by self-deception. It emphasizes that “it’s all in the timing” and speaks of a journey towards wisdom (“Getting wiser, so much wiser”), hinting at an introspective process, possibly through social exclusion (“introspected ostraciser”). The “drinking up with no holes barred to play” suggests an unrestrained engagement in life’s game.

Daphne, Otto, Luther, and Pope Verse:

Daphne lay beside the Silent Pool
When suddenly the air began to cool
Otto heard it, running back, and tried to stop the thudding crack
As Luther strode up, crying “Winter Rules”
“Holy Mackerel”, cried the Papal Prince
“you’re out of bounds I’m really quite convinced”
Luther drew his driver but the Pope pulled out a fiver
And they halved the hole on points of sacraments

This section introduces more historical and mythological figures (Daphne, Otto, Luther, the Papal Prince) engaged in a golf dispute, echoing historical conflicts (like the Reformation). Luther’s declaration of “Winter Rules” and the subsequent argument over “sacraments” resolved by a bribe highlight the absurdity and arbitrary nature of rules and resolutions in both the game and historical disputes.

Second Chorus:

So, we’re all as we lie
We’re all as we’re lying
No, don’t tell me it’s time
It’s all in the timing
Getting wiser, so much wiser, Seven Sister sympathiser
Drinking up with no holes left to play

(This is a repeat of the first chorus, reinforcing the main theme of subjective reality, timing, and the pursuit of wisdom.)

Plato, Justinian, and Aldrin Verse:

The hour of confrontation now was nigh
As Plato and Justinian were tied
Locked in mortal combat firing vulture after wombat
Their supremacy now could not be denied
The Seventeenth lay waiting for the pair
As both advanced with silent, ashen stares
But there they stood, incredulous, the distance
Reading “Nebulous”
And “Best of luck, Buzz Aldrin beat you there”

The final verse describes an intense “confrontation” between Plato and Justinian, tied in the game, engaging in a bizarre “combat firing vulture after wombat.” Their approach to the final hole is met with an incredulous sign, humorously declaring the distance as “Nebulous” and acknowledging Buzz Aldrin’s prior achievement in space, extending the “game” metaphor to cosmic and historical scales and questioning the ultimate significance of their earthly struggles.

So, we’re all as we lie
We’re all as we’re lying
No, don’t tell me it’s time
It’s all in the timing
So, we’re all as we lie
We’re all as we’re lying
No, don’t tell me it’s time
Or else I’ll be crying 

Credits:

  • Anthony Phillips: Vocals, guitars, keyboards (sometimes credited as “The Vicar”), sundries, orchestral arrangements.
  • Michael Giles: Drums.
  • John G. Perry: Bass.
  • Mel Collins: Soprano Saxophone.
  • Rupert Hine: Percussion, Backing Vocals, Locks, Probs, Modes & Vibes.

A2. “Birdsong”

6:30 | acoustic instrumental / progressive folk | medium tempo, gentle

“Birdsong” is a largely instrumental piece, evocative of its title, featuring Anthony Phillips’s signature acoustic guitar artistry. The song creates a serene and somewhat pastoral soundscape, often interpreted as a musical depiction of nature or a reflective, dreamlike state.

Musically, the song is characterized by its intricate, multi-layered acoustic guitar melodies and harmonies. It develops organically, with sections building upon each other, and incorporates elements of progressive folk with subtle shifts in texture and dynamics. The piece is highly melodic and fluid, aiming to evoke the lightness and beauty suggested by its title.

Verse 1: Morning Greeting & Nature’s Call

I hear the birds come greet me in my morning
They sing the songs of love in tongues of ages past
And all the while a vision is unfolding
The Moorhen pipes at me “Don’t sleep the day away”

And so with cautious steps I tread
A measured path through vale and rook
And many signs you’d want to take me with you

The speaker describes being greeted by birds in the morning, whose timeless songs evoke love and a sense of unfolding vision. A “Moorhen” encourages the speaker not to waste the day. This leads to a cautious journey through natural landscapes, with an implicit invitation to join (“And many signs you’d want to take me with you”).

Refrain 1: The Landing and Guiding Lights

And I go down to the Landing
Heron’s Flood flows on storm-clothed
As the harbour lights guide the wanderers home

The scene shifts to a “Landing” where a “Heron’s Flood” flows under stormy skies. Despite the turbulent natural elements, “harbour lights” serve to guide travelers back to safety and home.

Verse 2: Sun’s Dawning & Royal Procession

I see the sun come greet me in his dawning
He holds the seed of life within his aged hands
And in the sky a vast procession streaming
Royal banners held aloft to mark the halcyon time

And so I walk in meads below
Amongst the springs and weevil-gall
In myriad throngs the grass will take me with you

The speaker observes the sun rising, personified as holding the “seed of life.” A grand procession of “royal banners” streams across the sky, signifying a peaceful and prosperous “halcyon time.” The speaker then walks through meadows filled with natural elements, reiterating the invitation for companionship (“In myriad throngs the grass will take me with you”).

Refrain 2: Hawk’s Throne & Sapient Sky

And I climb up to the Hawk’s Throne
Cragshorn lies at Umbrian
As the marram-slopes span the sapient sky

The speaker ascends to a “Hawk’s Throne,” with specific geographical or metaphorical locations like “Cragshorn” and “Umbrian” mentioned. The “marram-slopes” stretch towards a “sapient sky,” suggesting a vast, knowing, or intelligent expanse overhead.

Verse 3: Night’s Greeting & Passage Through Time

I feel the night come bidding me his greeting
He draws a glowing veil upon a sleepy world
And in the sky the stars roll through the heavens
Below, the new-hatched dove stares wondrously above

And so to Esma I am come
To forge a passageway through time
And all too soon you’d come to take me with you

The night arrives, drawing a “glowing veil” over the world, as stars move across the heavens. Below, a newly hatched dove gazes upwards in wonder. The speaker then mentions coming to “Esma” to create a “passageway through time,” indicating a journey or transformation, with the familiar, wistful note of an eventual departure or invitation (“And all too soon you’d come to take me with you”).

Refrain 3: Northward Journey & Moorhen’s Call

And I strike north to the veldt-plains
Dorn Ridge melts in snow-gold
As the Moorhen pipes the pinkery moon

The speaker heads north towards “veldt-plains,” with “Dorn Ridge” melting in “snow-gold.” The “Moorhen” from the first verse reappears, now piping to the “pinkery moon,” closing the journey with a return to the natural world and its timeless sounds.

Outro

Birdsong so sweetly, hear them calling you
Birdsong so sweetly, hark they’re calling you (x2)

The song concludes with the repeated phrase “Birdsong so sweetly, hear them calling you / Birdsong so sweetly, hark they’re calling you,” emphasizing the persistent and inviting call of nature and perhaps a deeper, guiding presence.

Credits:

  • Anthony Phillips: Acoustic guitars, keyboards.
  • Perkin Alanbeck: Synthesizer.
  • Michael Giles: Drums.
  • John G. Perry: Bass.

A3. “Moonshooter”

5:52 | acoustic ballad | quiet, languid, swelling

The title “Moonshooter” itself evokes imagery of aiming for distant or ambitious goals, perhaps with a sense of wonder or even folly. This chorus centers on the figure of the “Moonshooter,” personifying a spirit of unburdened freedom and ambition.

The verses paint a picture of a character’s life marked by a relentless cycle of desire and acquisition, followed by loss and waste.

Every little thing she’s wanted / Every little thing she’s had to get
Every single thing she’s squandered / Every single thing she’s had to let

She consistently pursues and obtains what she wants, only to squander or release it.

Moonshooter, as free as ebbing tide / Moonshooter, no gaping cracks to hide

These lines establish the “Moonshooter” as uninhibited, fluid, and without hidden flaws or vulnerabilities. The “ebbing tide” suggests a natural, effortless movement away, perhaps from constraints.

Some at the windows / Some at the lights / Carry on shooting your moons

This implies observers or other individuals witnessing this ambitious pursuit. The “Moonshooter” is encouraged to continue aiming high, perhaps for seemingly impossible or dream-like goals (“shooting your moons”).

Maybe we’ll come back soon / Yes we will come back soon

This offers a hopeful, reassuring note, suggesting a reunion or return after this period of striving and exploration, emphasizing companionship and the eventual completion of the journey.

Florida is where you’ll find her / Lazing in the sticky summer sun
Living in a dying city / Waiting for the travelling troupes to come

The second verse then shifts focus to her present circumstances, finding her languidly waiting in Florida’s summer heat. She resides in a “dying city,” conveying a sense of stagnation and decay, and anticipates the arrival of “travelling troupes,” suggesting a longing for external excitement or change to break the monotony.

A4. “Wise After the Event” 

10:28 | symphonic rock, ballad | grandiose, swelling, tranquile

“Wise After the Event,” the title track from Anthony Phillips’s 1978 album, is a complex and often introspective piece characterized by its multi-sectional structure and rich musical arrangements.

Lyrically, the song revisits and expands on themes of introspection, delayed understanding, and the subjective nature of truth. The title itself implies a realization or clarity gained only after an event has transpired, highlighting the human tendency to gain wisdom in hindsight. The song likely continues the philosophical and observational tone of other album tracks like “We’re All as We Lie” and “Paperchase,” potentially extending their metaphorical framework of games or life’s absurdities.

Musically, it showcases Phillips’s signature blend of acoustic guitar textures, layered keyboards, and melodic development. It often features intricate instrumental passages, dynamic shifts between quieter, more reflective sections and more expansive, melodic movements. The song’s structure and instrumentation contribute to its reflective and somewhat melancholic atmosphere, embodying the contemplative nature suggested by its title.

Verse 1: The Maesltrom and Scattered Swine

Four thousand monks in a maelstrom
All crying out for release
Three cheers for old Mother Hailsham
She’s sticking to her beliefs
A hundred ships took to the high seas
Intent on sailing the world
They might have known that a rainy sky
Would scatter swine before pearls

This verse presents a series of seemingly disconnected, chaotic images: a large number of monks seeking liberation, an individual (“Mother Hailsham”) steadfast in her convictions, and ships setting out to circumnavigate the world. The concluding lines introduce a sense of futility, as an unfavorable sky scatters “swine before pearls,” implying that worthy endeavors or individuals might be overshadowed or disrupted by the unworthy.

Refrain 1: Breaking Chains and Cerebus Stirring

One by One, the Centaur is breaking its chains
And, after all, we’re blood and flesh and pain
Cover it up high, cover it up low
Cerebus stirring
Finally learning
Lamplighters’ torches extinguish
The flames of our fate

This section speaks of the “Centaur” breaking free, suggesting liberation or a shift from a restrained state. It emphasizes a raw, fundamental human condition (“blood and flesh and pain”). The imagery of covering things “high” and “low” suggests concealing or managing underlying turmoil. “Cerebus stirring” evokes a sense of impending chaos or a guardian of the underworld becoming active, leading to “Lamplighters’ torches extinguish[ing] the flames of our fate,” implying a loss of guidance or control over destiny.

Verse 2: Tiber and Sun-Seeker

Six sturdy bold held the Tiber
Across the stakes they did swarm
And in a chance he was leaving
Throughout his watch he was warming their guards
I met a man on a spreading kite
Who set his course for the sun
But when I asked what he’d found up there
He said he’d just been for fun

This verse offers two distinct scenarios: a group of six figures defending the Tiber (a historical reference to Rome, implying steadfastness or betrayal) where someone leaves their post, subtly “warming their guards.” The second part describes an encounter with a man on a kite aiming for the sun, a symbol of grand ambition, who ultimately dismisses his journey as “just for fun,” injecting a note of levity or disillusionment about grand quests.

Refrain 2: Jigsaw Piecing and Earth Quakes

Hour by hour, the Jigsaw is piecing together
In fear and dread, we wait the final act
Gathering up high, gathering up low
See how the earth quakes
Watch as the crust breaks
Beating the air as the hot wind
Comes blowing my way

This section introduces the metaphor of a “Jigsaw” slowly assembling, implying a gradual revelation or unfolding of a larger picture, met with “fear and dread” as “the final act” approaches. The imagery shifts to a cosmic scale with the earth shaking and its crust breaking, symbolizing profound, transformative, and potentially destructive change. This culminates in a feeling of being overwhelmed by an inevitable force (“Beating the air as the hot wind / Comes blowing my way”).

Verse 3 (Partial): March on Memphis

A million men marched on Memphis
To pay respects to their King
But when they came to Fort Lauderville
They found they all had to sing – So we’re

This incomplete verse describes a massive march on Memphis by a million men to honor their King. The unexpected twist occurs when they reach Fort Lauderville and are suddenly compelled to sing, introducing an element of forced conformity or an absurd diversion from their original purpose.

Getting so much wiser, it’s so much fun
(Getting so much wiser, it’s so much fun)
(x5)

Credits:

  • Anthony Phillips: Vocals, guitars (including electric 12-string, likely a Rickenbacker, creating a “punchy” and “chorus-heavy” sound), and keyboards (synthesizers, pianos).
  • Michael Giles: Drums, providing a “pulsating drum beat” that carries much of the track.
  • John G. Perry: Bass, providing “pumping bass” lines.

B1. “Pulling Faces”

4:58 | progressive rock / whimsical | medium tempo, intricate

“Pulling Faces” is a whimsical and often surreal journey through space and cosmic imagery, using astronomical metaphors to explore themes of displacement, seeking purpose, and the vastness of existence. It combines Anthony Phillips’s signature intricate instrumental work with a more quirky and narrative lyrical approach, evoking a sense of wonder, alienation, and ultimately, a grand, cyclical conclusion.

Musically, the song features a blend of acoustic and electric guitars, prominent keyboard textures creating atmospheric backdrops, and a dynamic rhythm section. Its melodies are often playful yet complex, fitting the imaginative lyrical content.

Verse 1: Cosmic Stranding

Flashing meteors follow
Comets climb in startling numbers
And the saucers slip by upon the Milky Way
Marking time, counting sheep on Venus
Stranded here in Ether
I couldn’t get my feet into a windbreak today

This opening verse sets a cosmic scene, describing various celestial phenomena like meteors, comets, and UFOs within the Milky Way. The speaker feels “stranded here in Ether,” highlighting a sense of isolation and detachment, struggling with even basic physical actions, emphasizing a feeling of being out of place in a vast, alien environment.

Chorus 1: Torn and Observing

Pulling Faces and swopping places
Grab the Bull by the horns
But still I seem to be torn
From the Plough I have
Seen the Earth rise
And the Bear sailed away…

The chorus introduces the central actions: “Pulling Faces and swopping places,” suggesting disguise, role-playing, or perhaps a lack of fixed identity. Despite attempts to take control (“Grab the Bull by the horns”), the speaker feels “torn.” From an astronomical perspective (the Plough/Ursa Major constellation), the speaker observes the Earth rising and another constellation (the Bear/Ursa Minor) sailing away, underscoring their distant, observational vantage point.

Verse 2: Undecided Destination & Banishment

Correlating clusters
Destination undecided
As the Virgan Voice cries “Proceed to Orion”
Lighting years with Aurora’s Beacon
Banished here for treason
They didn’t give a reason for this sentence in space

This verse continues the cosmic journey with references to star clusters and an unknown destination. A “Virgan Voice” (possibly related to the Virgo constellation or a guiding entity) gives direction. The speaker lights their path with an “Aurora’s Beacon” but reveals a backstory of being “Banished here for treason,” serving a “sentence in space” without knowing the reason, adding a layer of existential uncertainty and punishment.

Chorus 2: Enduring Observation

Pulling Faces and swopping places
Grab the Bull by the horns
But still I seem to be torn
From the Pole I have
Seen the Crab rise
And the Fish flew away…

This repeated chorus reinforces the themes of identity, struggle, and observation. From the celestial “Pole,” the speaker witnesses the rise of the Crab (Cancer constellation) and the flight of the Fish (Pisces constellation), continuing the detached, cosmic perspective on events.

Outro: Finality and Cosmic Cycle

Pulling Faces in empty places
And now at last we’re forewarned
And though the Bull’s lost his horns
After years trekking
Through the Starglow
It’s the End of the Universe

The song concludes with the “Pulling Faces” in “empty places,” suggesting a solitary or desolate continuation of the journey. A sense of forewarning is introduced, and even the powerful “Bull” loses its horns, indicating a loss of strength or purpose. The final lines, “After years trekking / Through the Starglow / It’s the End of the Universe,” offer a grand, cyclical, and perhaps inevitable conclusion to this vast cosmic existence.

Credits:

  • Anthony Phillips: Vocals, guitars, keyboards.
  • Michael Giles: Drums.
  • John G. Perry: Bass.
  • Rupert Hine: Percussion, Backing Vocals.

B2. “Regrets”

5:48 | orchestral ballad / contemplative folk | slow tempo, melancholic

“Regrets” is a deeply introspective and melancholic ballad that explores themes of missed opportunities, lost love, and the pain of unspoken or unfulfilled emotions. The lyrics convey a profound sense of sorrow and yearning for a love that was either rejected or never fully embraced, leading to a lingering feeling of remorse. Musically, the song is characterized by its evocative melodies and a delicate, often sparse, arrangement that underscores its emotional weight.

Verse 1: Spurned Love and Pain

Regrets, yes I have many
But none so great as spurning your love
For how sweet, how sweet your love would be
As fierce as fire, as tender as dew

This opening expresses a profound sense of regret, specifically identifying the spurning of a past love as the greatest sorrow. The speaker then vividly imagines the lost love’s potential beauty, contrasting its fierce passion with gentle tenderness.

Chorus 1: Blinding Rain and Unfelt Love

So let the rain fall
Crashing on me
And blind my eyes
For the love I can’t feel

This chorus presents a desperate plea for the elements (rain) to overwhelm and blind the speaker, serving as a metaphorical release or punishment. The rain’s action prevents the speaker from seeing the world, perhaps as a way to cope with the pain of a love that was never truly experienced or is now lost.

Pre-Chorus 1: A Call for Connection

Take a sound, don’t you wait, don’t be hurried
Make a sign, don’t be late, don’t you worry now

These lines suggest a plea for the other person to reach out, to act decisively without hesitation or fear, offering a fragile hope for connection or resolution.

Verse 2: Path to the Sea and Fleeing Words

Sometimes, I would have you close to me
And take the path that leads to the sea
In the dark our eyes would meet at last
And on your lips, the words I must flee

The speaker imagines a longed-for intimacy, a shared journey “to the sea” (perhaps symbolizing freedom or an unknown future). However, this imagined closeness is shadowed by a painful reality: the words on the loved one’s lips are those the speaker feels compelled to escape, hinting at a past rejection or a difficult truth.

Chorus 2: Repeating Pain

So let the rain fall
Crashing on me
And blind my eyes
For the love I can’t feel

This is a direct repetition of the first chorus, reinforcing the speaker’s overwhelming sorrow and the desire to escape the pain of the unfelt love.

Pre-Chorus 2: Desperate Outcry

Take a sound, don’t you wait, don’t be hurried
Make a sign, don’t be late, don’t you worry now

This is also a repetition, re-emphasizing the plea for the other person to make a move, to offer a sign, despite the speaker’s internal torment.

Bridge: Looming Doubts and Cutting Hopes

Pulling out while the doubts loom above me
Shouting out in the dark for you to love me
Cutting life from the hopes of an outstretched hand

This section describes the internal struggle and the moment of withdrawal, marked by overwhelming self-doubt. The speaker desperately cries out for love in solitude, lamenting the act of self-sabotage (“Cutting life from the hopes of an outstretched hand”) by giving up on a potential connection.

Outro: Secret Cemeteries and Fading Dreams

Regrets, our secret cemeteries
Where loves and loss are silently lain
The dream is fading faster now
And soon you’ll skip beyond my recall

The song concludes by personifying regrets as a hidden place where unfulfilled loves and losses are buried. The dream of what could have been is rapidly dissipating, leading to the ultimate fear of the loved one slipping entirely from memory, signifying the profound and permanent nature of the regret.

Credits:

  • Anthony Phillips: Vocals, arragements
  • Gilbert Biberian: orchestral conductor
  • David Katz: orchestral leader

B3. “Greenhouse”

3:03 | progressive folk / contemplative | medium tempo, layered

“Greenhouse” is a dreamy and reflective piece that blends natural imagery with a sense of distance, passage of time, and philosophical questioning. The lyrics present a series of vivid, often contrasting scenes—from melting ice to historical figures, from mundane observation to interstellar travel—creating a fragmented yet cohesive narrative about perception, purpose, and the human condition.

Musically, the song is characterized by its layered acoustic guitar work, gentle keyboards, and a driving yet subtle rhythm. Its mood is often melancholic and introspective, building atmosphere through its detailed instrumentation and Phillips’s distinctive vocal delivery.

Verse 1: Natural Shifts & Static Observation

Hear, a West Wind calling
I hear it calling my name
Snow, on Greenland falling
The ice is melting away
Sitting in a greenhouse painted green
None to be picked and none to be seen
Standing by a harbour soaking rain
Why must the sky bring rain back again?

This section opens with natural phenomena: a West Wind calling and snow falling in Greenland, followed by the melting of ice, hinting at environmental change or personal transition. The scene then shifts to two static, somewhat isolated observations: sitting in a “greenhouse painted green” where nothing is active, and standing by a rain-soaked harbor, questioning the recurrence of rain. This contrasts vast natural movements with moments of stillness and subtle complaint.

Verse 2: Historical Figures & Micro/Macro Worlds

Wake, an angel talking
She’s asking “black, white or nun?”
Drake, from Plymouth streaking
He sinks the galleons with the guns
Climbing up a creeper chasing flies
Unzip their wings and look in their eyes
Standing on a steeple stitching time
Time to be saved and time to be nine

This verse introduces more abstract and historical figures. An angel poses a cryptic choice, while Sir Francis Drake is depicted in a historical naval battle. The scene then shifts abruptly to a microscopic level, observing flies with detached curiosity. Finally, standing on a steeple “stitching time” suggests a philosophical contemplation of temporal shifts, with the vague notion of saving time or a return to a younger state.

Bridge: Distant Journeys & Repetition

Footsteps in a blizzard point the way to go
Heads of marble snow men, miles and miles from home
Sleeping on an Interstellar Plane
Sitting in a greenhouse painted green
None to be picked and none to be seen

This passage evokes a journey through a harsh, vast landscape (“blizzard”), far from familiarity. The imagery of “marble snow men” adds to the sense of frozen timelessness. The setting then becomes cosmic, with someone “Sleeping on an Interstellar Plane.” This segues into a repetition of the “greenhouse” imagery, reinforcing the theme of a fixed, perhaps isolated, observation point within this broader, unfolding journey.

Outro: Unanswered Question

Sleeping on an Interstellar Plane
Will we return to find it again

The song concludes with a lingering question, reiterating the idea of cosmic travel and then posing whether a familiar place or state (perhaps the “greenhouse,” or life as it was) will ever be found again, adding a note of uncertainty and longing.

Credits:

  • Anthony Phillips: Vocals, guitars, keyboards, drums, bass.
  • Jeremy Gilbert: keyboards
  • Vic Stench: bass
  • Humbert Ruse: drums

B4. “Paperchase”

5:28 | acoustic ballad | slow, soft

“Paperchase” uses golf as an extended metaphor for various human endeavors and conflicts, particularly intellectual and philosophical ones. The lyrics depict a surreal golf match involving historical and philosophical figures (e.g., Harold, Tostig, Plato, Justinian) and even mythical elements. This “paperchase” seems to represent:

  • The pursuit of wisdom or truth: The song’s chorus, “Getting wiser, so much wiser,” suggests a journey of understanding and introspection.
  • Life’s challenges and absurdities: The golf game is filled with bizarre and unpredictable events (“vulture after wombat,” “lettuce leaves had made the crowd disperse”), reflecting the unpredictable nature of life.
  • The futility or endlessness of certain struggles: The “Paperchase” itself can imply a never-ending pursuit of something elusive, or perhaps a bureaucratic/academic chase.
  • The idea of a “game” where the rules are fluid or made up: Characters like the Pope and Luther “halved the hole on points of sacraments,” highlighting how even serious conflicts can be reduced to a kind of arbitrary game.

Overall, “Paperchase” is a whimsical yet thought-provoking narrative that uses the framework of an unusual golf game to comment on the human condition, intellectual battles, and the ongoing quest for meaning.

Verse 1

Find a way to distinguish patterns / In the thread of the living

This suggests seeking meaning or order in the chaotic, ongoing flow of life. “Patterns” could refer to recurring events, universal truths, or personal habits. “Thread of the living” evokes life as a continuous, interwoven fabric.

Pick a path through the rough and tumble / Look within without misgiving

This implies navigating life’s difficulties (“rough and tumble”) with courage and self-trust. “Look within” points to introspection and inner guidance, without doubt or hesitation.

Darkness falls on December / Gathered in, we recall

“Darkness falls on December” evokes winter, the end of a year, or perhaps a period of difficulty or introspection. “Gathered in, we recall” suggests coming together to reflect on the past, share memories, or find comfort in community during challenging times.

Chorus

Wait, don’t let it wear you down / Call me and I’ll be right round, come what

This is a message of support and resilience. It’s a plea not to succumb to life’s burdens and an offer of immediate help and companionship.

May never wears a frown, so call me / And we’ll treat the world as on wedding-days

“May never wears a frown” could personify optimism or good fortune. The invitation to “treat the world as on wedding-days” suggests approaching life with joy, celebration, and a sense of new beginnings, despite difficulties.

On and on through the Paperchase

This connects the personal struggle and offer of support to the overarching metaphor of the “Paperchase”—the endless, often absurd, pursuit or game that is life. It implies persistence through this journey.

Verse 2

Pitch a ball across a dusky courtyard / See the shadows slink away

This imagery directly ties into the golf metaphor. “Dusky courtyard” suggests an obscure or challenging setting. “Shadows slink away” implies that taking action or making a decisive move can dispel doubts, fears, or difficulties.

Toss a coin into a feckless fountain / And brittle hope, it’s your lucky day

“Toss a coin into a feckless fountain” evokes a desperate or perhaps whimsical act of wishing for luck, a forlorn hope. The follow-up “And brittle hope, it’s your lucky day” suggests that even fragile hopes can be realized, perhaps unexpectedly, emphasizing the role of chance or sudden fortune.

Winter finds us together / Heaven knows our design

Similar to the December line, “Winter finds us together” reinforces themes of enduring through hardship with companionship. “Heaven knows our design” could refer to a divine plan, destiny, or simply an acknowledgment that their purpose or nature is understood by a higher power.

The repeated refrains and the final lines (“Treat the world as on wedding-days / On and on through the Paperchase”) emphasize the song’s central message: despite life’s continuous and sometimes absurd challenges, we can choose to face them with joy and mutual support. The “Paperchase” is unending, but our attitude towards it can transform the experience.

B5. “Now What (Are They Doing to My Little Friends?)” 

8:30 | symphonic ballad | quiet, languid, swelling, grand

“Now What (Are They Doing to My Little Friends?)” is a poignant protest song about animal cruelty and exploitation, particularly the culling or slaughter of animals.

The lyrics narrate a series of vivid, often disturbing dreams from the perspective of various animals:

  • An Otter: Dreams of being in sheltered waters, then hears a fearful sound, sees coats smeared in blood, and knows its fate with nowhere to hide.
  • A Red Stag: Dreams of grazing peacefully, then hears a hunting horn and recognizes “the Song of Death.”
  • A Big Bear: Dreams of being a “bespectacled and brown” bear, then sees “shafts of fire” shooting across the sky before hearing no more.
  • A Grey Seal: Dreams of suckling its cubs, then experiences being beaten with sticks and clubs, witnessing its brains beaten out, and hearing “childrens’ cries, helpless to die.”

Interspersed with these animal perspectives are lines like “For I, I am the Sun. I am the Moon. I am the Stars up above. Now what are they doing to my little friends? I make everything and it all dies in the end.” These lines could represent a universal, perhaps divine or cosmic, consciousness lamenting the destruction of its creations.

The song was reportedly inspired by a TV program about seal culling, which deeply affected Phillips. It functions as a powerful, melancholic plea against the senseless suffering inflicted upon animals by humans.

I dreamed I was an Otter
In sheltered leats I lay
The I heard a sound I feared
And the I saw their coats
All smeared in blood
I knew my fate –
Nowhere to hide

A dream from an otter’s perspective shifts from serene rest in sheltered waters to a sudden, terrifying realization of its impending death as it sees blood-smeared coats and knows there is no escape.

I dreamed I was a Red Stag
In pastures grazing
And then I heard a hunting-horn
Ringing out it’s song –
The Song of Death
We know so well
How can I tell?

A stag’s dream of peaceful grazing turns into a nightmare with the sound of a hunting horn, signaling “The Song of Death” and expressing the animal’s familiar terror and inability to comprehend or communicate its plight.

For I, I am the Sun
I am the Moon
I am the Stars up above
Now what are they doing to my little friends?
I make everything and it all dies in the end

A universal, possibly divine, voice identifies itself as the creator of all (Sun, Moon, Stars) and then expresses profound despair and questioning over the brutal harm inflicted upon its “little friends” (animals), concluding with the mournful observation that everything it creates ultimately perishes.

I dreamed I was a Big Bear
Bespectacled and brown
And the I saw to shafts of fire
Shooting through the sky –
I heard no more
Save drops of rain
I cannot explain…

A dream from a “bespectacled and brown” bear’s viewpoint begins calmly but ends abruptly with a vision of “shafts of fire” and then silence, suggesting a sudden, inexplicable demise, leaving behind only the sound of rain.

I dreamed I was a Grey Seal
My cubs for suckling
And then they came with sticks and clubs
And beat away my brains –
I heard no more
Save childrens’ cries
Helpless to die

A mother seal dreams of nurturing her cubs, but the dream turns horrific as she experiences a violent attack by humans with sticks and clubs, resulting in her death and her final perception of her helpless cubs’ cries.

The night is quiet for Otters
In peaceful holts they lie
There is no peace for anyone
While this pest remains
His senseless mind cannot retain
I cannot explain –

This section returns to a more reflective, human-like perspective, lamenting the lack of peace for animals like otters due to the persistent “pest” (humans). It questions humanity’s “senseless mind” and inability to grasp the consequences of its actions, reiterating a sense of inexplicable horror.

Credits:

  • Anthony Phillips: Vocals, acoustic guitars, keyboards.
  • Michael Giles: Drums.
  • John G. Perry: Bass.
  • Jeremy Gilbert: harp

Bonus Track. “Squirrel”

3:02 | piano ballad / elegy | slow tempo, somber

“Squirrel” is a poignant and melancholic acoustic ballad that serves as a quiet elegy, observing the final moments of a dying squirrel. The song explores themes of inevitable loss, helplessness in the face of death, and the lasting memory of a poignant encounter. It captures a moment of quiet reflection on the fragility of life and the silent dignity of its end.

Musically, the song is characterized by Phillips’s delicate acoustic guitar work, which provides a gentle and somber backdrop to the narrative. The vocals are understated, contributing to the intimate and reflective mood.

Verse 1:

Observation of Decline
Out at night, I saw a squirrel
Lying in a ditch beneath a great elm tree
Grey and weak, his tiny eyes revealed
The secret of this vigil strange and free
Hour after hour, he pursued
Weaker and weaker, you grew

The speaker describes a nocturnal encounter with a dying squirrel, noting its weakened state and the profound, almost mystical quality of its solitary vigil. There’s a sense of slow, inevitable decline, with the speaker observing the squirrel’s gradual fading.

Chorus:

Helplessness and Imminent Death
Squirrel, friend, I see you lying
And there’s nothing I can do to bring you back
Grey and weak, your tiny eyes don’t understand
The strangeness of this pain you feel
All through the night, you will lie
Each moment, death’s hour draws nigh

The chorus expresses profound helplessness and sorrow. The speaker acknowledges the bond with the dying creature but recognizes their inability to intervene. It highlights the squirrel’s innocent incomprehension of its own pain as it approaches its final moments.

Verse 2:

Silent Burial and Enduring Memory
Silently your hooded brothers lay you down
To sleep forever into time
Peace at last has come upon you
As a mother’s fading whispers to her child
Hour after hour, I pursued
Though you are gone, I will still remember you

This verse imagines a solemn, natural burial by other squirrels (“hooded brothers”), signifying a peaceful transition into death. The arrival of peace is likened to a comforting, final lullaby. The speaker’s continued vigil is emphasized, culminating in a promise of enduring remembrance despite the squirrel’s passing.

Cover Art

Tracklist:
A1. “We’re All as We Lie” (4:34)
A2. “Birdsong” (7:30)
A3. “Moonshooter” (5:52)
A4. “Wise After the Event” (10:28)
B1. “Pulling Faces” (4:32)
B2. “Regrets” (5:15)
B3. “Greenhouse” (3:00)
B4. “Paperchase” (5:28)
B5. “Now What (Are They Doing to My Little Friends?)” (8:30)

B-side: “Squirrel” (4:30)

Credits:
Anthony Phillips (aka “The Vicar”, “Vic Stench”) – vocals, harmonia, guitars, keyboards, sundries, drums and bass on “Greenhouse”, orchestral arrangements on “Regrets”
Michael Giles – drums
John G. Perry – Wal custom bass guitar
Jeremy Gilbert – keyboards on “Greenhouse”, harp on “Now What? (Are They Doing to My Little Friends?)”
Mel Collins – soprano saxophone on “We’re All as We Lie”, flute on “Birdsong”
Robin Phillips – oboe on “Sitars & Nebulous”
Rupert Hine (aka “Humbert Ruse”) – percussion, backing vocals, locks, probs, modes, vibraphone, drums and bass on “Greenhouse”
Alan Perkins (aka “Perkin Alanbeck”) – synthesiser on “Birdsong”
Rodent Rabble – clicks, claps and crampons (including “No Hours from Neasden”)
Gilbert Biberian – orchestra conductor on “Regrets”
David Katz – orchestra assembling
Rupert Hine – producer

Sources:

Artist/Album Pages:

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