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Acquitted By Mirrors - Issue Seven - Published September 1983 Back to Top

Tripping the Light Fantastic Bill Nelson live album - 5 September 2017 Albums Menu Future Past Purchase this download TRACKS: 01) Introduction 02) Hypnos 03) Luxeodeon 04) Golden Dream Of Circus Horses 05) Gloria Mundae 06) Mars Welcomes Careful Drivers 07) If I Were The Pilot Of Your Perfect Cloud 08) The Awakening Of Dr Dream 09) Beyond These Clouds, The Sweetest Dream 10) I Always Knew You Would Find Me 11) The Raindrop Collector 12) Beatniks From Outer Space ALBUM NOTES: Tripping the Light Fantastic is a live album of guitar instrumentals released on the Sonoluxe label in a limited print run of 500 copies, with a simultaneous download release via Nelson’s Bandcamp page. The album was first mentioned on the Dreamsville Forum on 14 June 2017, and released on 5 September 2017 . The album was recorded at the New Northern Dream album launch held at The Cloth Workers' Hall, Leeds, in October 2016. Nelson's full set performed that night is featured on the album. On 15 September 2017 it was announced on the Dreamsville Forum that the album had sold out. CURRENT AVAILABILITY: Though out of print as a physical release , Tripping the Light Fantastic is available for purchase as a digital download here in the Dreamsville Store . BILL'S THOUGHTS: "Tripping The Light Fantastic is only the second live album I've ever officially released. The first was Be Bop Deluxe's Live In The Air Age album, way back in the distant 1970's. A great deal of 'time saturated' water has flowed under all our rickety bridges since then, but this new live album captures a brief moment in that same flow of time. "Sensibilities change, both on the part of the audience, and also every artist worthy of the term 'artist' over the years, but I'm very happy to say that my audience has grown with my own development and peculiar sensibilities throughout the years. This isn't music from then, but music from 'now,' (though the now is always in flux and shifting, as am I.) "So, it is to those loyal, enthusiastic, brilliant listeners that I dedicate this album." _____ "One of the things that might throw some extra light on the live album is that I was very unwell at the time of its recording. I was suffering from a nasty 'flu virus which had threatened to cancel the event. But, there was no way, short of being totally bed-ridden, that I could do such a thing, so I forged ahead and hoped for the best. And that is why my voice might sound a little nasal, and also why, at the conclusion to the performance, I said that I'd managed to get through it without falling over. Those of you who were not there, (and some of you who were), might not grasp the meaning of that pronouncement, or my impaired voice quality. It was a bit of a struggle but the adrenalin rush helped me through it..." FAN THOUGHTS: Peter: "Oh, boy....what a treat. I have had the pleasure of seeing Bill perform in this format (with backing recordings) on a handful of occasions, and found this very much an accurate capturing of the experience. This is a wonderful selection of songs, all superbly performed. I was struck while listening by how amazing Bill's playing is...in far too many instances, seeing a musician live reveals shortcomings that the studio can hide...but Bill sounds as amazing live as he does in recordings. Thank you SO much for releasing this one, Bill." Returningman: "Hypnos": "This was a spine-tingling start to a magical hour of music." "Just love live recordings and this one is a stunner. Many thanks Bill." market: "Eeeeeee lad it's flippin' great... Wish I'd been there... At least I can listen..." RMD: "Another great offering from Bill - a genuine "live" album. My favourite track is "The Awakening of Dr Dream" - sublime playing even by Bill's standards." Big Dunc: "A truly magnificent masterpiece... Mars, welcomes careful drivers = Superb." Merikan1: "Just arrived. I am halfway thru first listen. It sounds amazing. Thanks for this one Bill." Captain Custard: "This is bloody brilliant Bill, yet another fantastic gift to us." alec: "Listening often to this. The production is quite robust and satisfying at loud volume through earbuds or through big, proper headphones." Albums Menu Future Past

Rosewood Volume One Bill Nelson album - 25 May 2005 Albums Menu Future Past Purchase this download TRACKS: 01) Blues For Orpheus 02) Escondido Oleander 03) Lumia 04) Filament 05) Lacuna 06) Cascade (Improvisation For Three Harp Guitars) 07) She Swings Skirt 08) Mexico City Dream (For Gil Evans) 09) Ventura 10) The Girl In The Park In The Rain 11) Apollonian Tremolo 12) Giant Hawaiian Showboat 13) Cremona 14) The Land Of Lost Time 15) Sleepless In The Ticking Dark ALBUM NOTES: Rosewood Volume One is an album of acoustic guitar instrumentals issued in a single pressing of 1000 copies. The CD gave birth to the Sonoluxe label, which Nelson has continued with for his major releases, including reissues and digital download compilations. The album was the first to be issued after the launch of Nelson's official website Dreamsville, which went live in April 2005. Sales of Rosewood benefited from an increased profile provided by the website's forum, The Dreamsville Inn, to which Nelson is an avid contributor. The combination of having easy access to the artist, and the reliable and dedicated staff of the Sound of Sound website, created an enticing and reassuring combination for fans of Nelson's music. CURRENT AVAILABILITY: Available for purchase as a digital download here in the Dreamsville Store . IF YOU LIKED THIS ALBUM, YOU'LL PROBABLY ENJOY: Rosewood Two , And We Fell Into A Dream , Quiet Bells , Dreamland to Starboard , Illuminated At Dusk , Silvertone Fountains , Neptune's Galaxy , New Northern Dream BILL'S THOUGHTS: "The two Rosewood albums are amongst my proudest achievements, particularly Volume One which still manages to surprise me when I hear it. For me, this is one of those few albums of mine that I'd rescue from the metaphorical burning building. An album I can listen to with the warm glow of satisfaction." _____ "It was the slightly off-centre American acoustic guitar players such as John Fahey and Leo Kottke that ultimately inspired me the most. I also was immersed in blues music as a late teen, not just the modern, urban electric blues but rootsier country blues too... (Tampa Red became a favourite, amongst others). Rosewood's roots are firmly planted in such left of centre inspirations, rather than the style of more popularly regarded virtuoso acoustic guitarists." _____ "Cascade": "The entire track is made up of a harp guitar multi-tracked three times. The harp guitar belonged to Brendan Croker of the 'Nottinghillbillies' who let me borrow it for a few days. A beautiful instrument hand made by York master luthier Ralph Bown." _____ "One of the reasons I'm so proud of Rosewood is because it's one of the few albums I've made that has actually hit my personal creative bullseye and achieved what I intended it to do. As Harold Budd said to me when he first heard it...'Now THAT'S the album you've always wanted to make!' Harold loved it and that's praise enough for me." FAN THOUGHTS: John Izzard: "The acoustic guitar is such an open, honest instrument - almost naked - and it's used here with exquisite taste and in such a beautifully innovative way. "As much as I love the lush, decorative arrangements of the previous few albums, which suit the generally bigger sound, I'm struck by the lighter touches employed here. 'Craftsmanship' is an overworked - and often undeserved term, but here it is almost an understatement... "I had high expectations for Rosewood. They've just been exceeded." Ged: "In my opinion its one of the most beautiful selection of pieces of music I've ever had the pleasure of listening to, an absolute joy to the ear. Its warmth and simplicity are wonderful. Julie and Faye (16 weeks old today) are equally impressed (I've just been playing it in the car) - Julie commented that it was beautiful and calming and Faye 'cooed' with delight. A fabulous CD I'd recommend to everyone." Alan: "Beautiful piece of work...Another great chapter in the ever evolving life of Bill Nelson. Mr Nelson never ceases to amaze me. Definitely the most versatile artist I know of. Keep up the good work." steve lyles: "Listening to Rosewood vol 1 and it hit me (not for the first time) that Bill Nelson's music is so beautifully honest and direct. It doesn't try to be another's work - it's not money or fame motivated. It is "musical...well expressionism" in its highest form." "Absolutely beautiful emotive music." Alan Cawthorne: "I don't think I've heard a more original, relaxing and beautiful album in a long time...Nice to hear intelligently thought out and written pieces." Radium Girl: " Rosewood Vol.1 is one of the most gorgeous sonic masterpieces ever!" BobK: "Sounds fantastic. Very beautifully produced, guitars sound gorgeous, tunes are, well, beautiful and gorgeous!!! (Need to check out thesaurus methinks...). It sounds so full of emotion and melody." Mozo: "I know it sounds corny but...just like a good wine...the man's strumming and technique seems to just get better with age! Amazed and impressed with the "feeling and maturing" of his style on this one! Somewhere Bill Frissell, Fred Frith, and Django Reinhardt are smiling after listening to this monster!!! But the really cool part about it is that was just my first listen. It's only going to get better with every fleeting listen! I'm floored Bill." Peter Roche: "I haven't played number 2 yet, as I can't get off number 1 . It is my favourite BN CD to date. The electronic additions, for me, add a great deal of texture and greater depth than would be there if it were absent. I would like to wax lyrical about it, but don't know what to say, except it's brilliant. Thanks." paulnery: "Escondido Oleander": "impressed me...although the beauty of the entire album is evident...the atmosphere of the CD is spiritual almost all of the time, probably with the exception of "She Swings Skirt", maybe some distraction during a meditative state...The sound of the acoustic guitars, full of harmonics, is simply wonderful." old_goat: "Lush like a field of wheat in a gentle breeze..."Filament", what a perfect title for what I heard... "Escondido Oleander" is absolutely hypnotic; felt transported back 30 years. I remember this little creek that ran by my house in California. It was lined with oleanders; I used to go there with a cold soda and lay in the shade and listen to the sounds of the creek and the life it held. I don't know how much thought Bill puts in to some or all of his titles, but there are plenty that seem to fit like a glove; it seems like the more I listen to his work, the more appropriate the titles become." Earthling: "Not like anything else in the collection. Do we ever worry when we buy a Bill Nelson creation? I think not." johnofdeath: "Glad I took the day off work. The postman decided he couldn't fit the CD package through my letter box and was heading off down the road. I had to chase after him but it was worth it. Just listened to Rosewood for the first time and it sounds great. Very laid back - my wife might even like it!!" Albums Menu Future Past

Readers of this journal may be wondering why I haven’t posted an entry for quite some time. The last time I wrote was in June 2022 which, even for me, is a heck of a long time ago. The reason for the journal’s absence is rather complicated to explain. Obviously, much has happened that would now take several pages to recount, if I could even remember it all. But let me attempt to at least dance around my existentialist handbag, whilst avoiding emptying its messy contents all over the ballroom floor. To be honest, I think I’ve been feeling rather low for some time. Depressed? Well, maybe, though I’ve always fought against that possibility. But several things have pushed me in that direction of late. I caught some sort of prolonged cold/flu virus a few weeks ago which left me feeling weak. Still not fully recovered. Thought it might have been Covid at first but a test proved negative, so some other bug perhaps. Another thing that I’ve found hard to deal with is the news of so many musician’s deaths these last few months: Jeff Beck, David Crosby, Terry Hall, Jet Black of The Stranglers, Angelo Badalamenti, Alan Rankine, Charlie Gracie, Yukihero Takahashi, and today the sad news of Ryuichi Sakamoto’s passing. The last two names have a personal poignancy for me as I worked with both Yuki and Ryuichi in Yellow Magic Orchestra in the ‘80s and also with Yuki on his, (and my,) solo projects back then. Yuki was also my wife Emiko’s ex-husband. Both Yuki and Ryuichi had valiantly battled with cancer for some time but, in the end, defeating it was no longer possible. We had been in touch with Ryuichi via email on occasion during his last few years so knew that things were deteriorating to some degree, but this morning’s sad news came as a real blow. Emiko had known Yuki and Ryuichi since they were students at University in Tokyo in the 1960s and she was witness to the formation of YMO after Yuki’s time as drummer for The Sadistic Mika Band in the ‘70s. It’s fair to say that YMO were the biggest band in Japan back then, a remarkable three-piece who took the Kraftwerk template to another level entirely. Working with them was a wonderful experience for me, as was later touring Japan in Yuki’s band and having him play on my ‘Chimera’ album. The joint rhythm section of Yuki on drums and the late Mick Karn on Bass gave that album so much punch. Sad too, the sudden passing of Jeff Beck. I attended his concert in York last summer as a VIP guest, (thanks to a generous gift of tickets from the Nelsonica Team.) Jeff was on good form and very loud. He played a great version of Link Wray’s ‘Rumble’ which took me back to my teenage years of listening to American guitar instrumental music. Jeff, like me, had a fondness for that stuff. Coming away from that concert, I had no idea that in less than a year, Jeff would be gone. I first heard him in the ‘60s, when he was with The Yardbirds and first saw him with that group on the ’60s TV show ‘Ready, Steady, Go’ playing the song ‘Shapes Of Things.’ His Indian influenced solo on that performance made a great impression on me, akin to later seeing Jimi Hendrix’s first TV appearance, (also on ‘Ready, Steady, Go.’ ) Jeff always had his own unique tone and touch, especially with his sensitive use of the guitar’s vibrato arm. I’ve noted elsewhere in my journal entries how I met him briefly at a Classic Rock Magazine’s Awards Ceremony. It was good to shake his hand and thank him for his inspiration. Another thing adding to my low mood of late has been the further deterioration of my eye sight. On top of my Diabetes related and age related macular degeneration, I now have been diagnosed with Glaucoma. My driving licence came up for renewal and I had to take a DVLA sight test to get the licence renewed. Unfortunately, my eyesight was not up to scratch so I can no longer legally drive. I’ve been driving since I was old enough, way back in the ’60s so the loss of my licence has dealt me a really low blow. I’ve always enjoyed driving but have now lost the freedom and independence that owning a car allows. Now I have to rely on Emiko to take me anywhere, though I have to accept that sometimes she may not always be available to do so. Emi hates driving anyway, whilst I loved it. One of life’s ironies, I guess. To try and keep my mind off darker thoughts, I continue to pursue my endless recording session. The list of completed tracks now far exceeds the list I posted in last year’s journal entry. I’ve been on a roll, recording both vocal and instrumental tracks. A huge amount of work done and I need to start selecting and assembling tracks into some sort of coherent album form. The newest album I’m working on will be titled ‘Guitars Of Tomorrow.’ The title speaks for itself. But I also have tracks set aside for an album called ‘Starlight Stories’ and one titled ‘Fables Of The Future.’ However, the next release this year will be ‘All The Fun Of The Fair’ which I completed towards the end of last year. It awaits packaging artwork which I have been somewhat lax in preparing but plan to make a start on this very soon. But there are still a handful of albums from the last five or so years which have yet to see the light of day. Again, artwork has to be prepared for these before they can be scheduled for release. Lots to do. Bought a new microphone a couple of months ago. It’s called ‘The Amethyst’ and is made by the JZ microphone company. It’s got a lovely warm vintage sound and I’m very impressed by it. Have been reading, (with great difficulty due to my impaired eyesight, ) Bill Frisell’s biography ‘Beautiful Dreamer’ which I’ve enjoyed and found it resonating with my own life. I’ve also recently bought a biography of Merle Travis which I will attempt to read soon. Now I must end here as typing is increasingly difficult, even using an enlarged font size. But, as always as the evening begins, I will be switching on my studio and engaging with my music. A life saver in many ways. Tonight I’m mixing a new track titled ‘Mr Wizard Takes A Trip.’ This one will be allocated to the ‘Guitars Of Tomorrow’ album. All for now. I’ll try not to leave it so long ’till next time.

Three days ago, (Sunday 3rd July,) I spent just over seven hours in the accident and emergency department of our local hospital after suffering a very nasty fall. It was just before 1 am on Sunday morning when Emiko brought my attention to a large moth which had settled on one of her flower arrangements in our dining room. Not wanting to harm it I carefully caught it and ran to the front door to release it outside. In my haste and in the dark, I tripped over the door step and found myself hurtling to the ground where I hit my head violently on the stone flags outside the door. I felt my head crack and immediately blood gushed from the top of my head like a fountain, cascading over my face. The blood flow was profuse and frightening. Emiko rushed to my aide helping me to get up off the ground and brought kitchen towels to apply to the wound but the blood kept flowing, soaking towel after towel and refused to stop. A 999 call was made to summon an ambulance and I was told to apply a wet towel to the wound and to press down hard on it until the ambulance could get to me. A 40 minute wait was what we were told to expect but the ambulance turned up after 30 minutes. The crew checked my blood pressure and heart rate with a portable monitor. The right side of my upper lip had swollen up and my teeth at that side hurt as a result of bruising to my gums. I had badly grazed my right forearm and elbow and sprained my right wrist. The little finger on my right hand also hurt and I had grazes to my right thigh and knee. The ambulance crew said that I needed to go to the hospital’s A+E department but that I should be prepared for a wait of several hours. Emiko asked if she could come with me but they said no, so I walked shakily to the ambulance, still clutching a wet towel to my head. As the ambulance drove to the hospital, various details were logged onto the computer by one of the crew. Soon, the ambulance arrived at the hospital and I was taken into the reception of the A+E department and told to sit with other patients awaiting treatment. After a couple of hours I decided to ask at the reception desk how much longer I would have to wait to see a doctor. They told me that it probably would be another six hours. I said that my wound was still bleeding so they called a nurse who taped a gauze pad to the top of my head. Time dragged on. More casualties of different kinds arrived and sat in the waiting area, mostly young people who looked the worse for wear after a Saturday night of substance abuse or fighting. Eventually, some hours later, a doctor called my name and I followed him to his consultation room. He was a very pleasant, youngish guy who carefully inspected my wounds and put me through various tests to assess any brain injuries. He then told me that he would try to pull the head wound together with a special ‘glue’ but needed a second opinion. He left the room and returned with a lady who examined my head wound and said that there was not enough loose skin to pull the sides of the wound together but suggested trying to seal it with ‘steri-strips.’ The doctor then went to get these strips, cut them to size and carefully stuck them to the top of my head, apologising for the pain I experienced while he did so. A gauze pad was then taped on top of this before he said that I was free to go. I ’phoned Emiko who drove to the hospital to pick me up and take me home. It was around 20 past 8 am when I walked through the door where I had fallen just before 1 am. There was dried blood on the stone paving slab, on the carpet in the hall and on the dining room and kitchen floor. I was tired and suffering from the after shock of the whole thing. Next day, Emi changed the gauze pad on the top of my head for a clean one. There was still some bleeding going on but nowhere as much as when it first happened. The pad has been changed every day. I now have a GP appointment on Friday for the wound to be checked. My lip is still a little swollen and eating is somewhat painful because of the soreness in my teeth but I’ve been told that this will subside in time. I’ve had some mild headaches and bursts of pain from the would but have taken Paracetamol as instructed by the doctor. My wrist has almost recovered. I’m not allowed to wash my hair though so it is still matted with dried blood. The experience was a shock to me and thinking of it now brings a shiver, but I suppose it could have been worse. It certainly came at a bad time as I was supposed to be doing an interview with Mojo magazine tomorrow but it will have to be postponed until my GP checks the healing process and gives me the all clear. I haven’t been able to work in my studio since the accident, having been told to rest and avoid stress. Four days without touching a guitar is not like me at all. But I have a great deal of material ‘in the can’, even more than that noted in my previous journal entry, so it’s not like I need to record at the moment. There's much more I’d like to comment on, particularly the debacle surrounding Boris ‘Greasy Pig’ Johnson who is such a pathetic cretin, but all that will have to wait until next time. I’m going back to the sofa to watch tv and take more Paracetamol.

A fair, (or unfair,) amount of time has passed since my previous journal entry back in January. So much has happened since then, not least the devastating war in Ukraine due to the illegal invasion by Russia. The barbaric atrocities of the Russian army trample on all notions of honour or humanity. It’s heartbreaking to witness the suffering of the Ukrainian people on television news channels night after night. Russia’s Putin is a man without a soul, feeding outrageous lies to his people, an insidious, sly monster for our times. Where this will all end is impossible to predict, but I pray it ends with Ukraine being able to retain its independence and sovereignty. We can only hope. Went to Wakefield cemetery to lay flowers on my Mum’s mini-grave on the second anniversary of her passing in April. It’s now two years since she left us. And still she features in my dreams almost every night. My brother too passed away in April, in 2006. Their loss, along with the loss of all my early family, haunts me constantly. I still find it hard to come to terms with. The eye surgery I mentioned in my previous journal entry has been completed. My left eye was operated on in January and my right eye also underwent surgery in late February. The operations were surreal affairs, with local anaesthetic so I was aware of the whole process being performed. It wasn’t particularly painful, but certainly uncomfortable and very stressful. Any improvement to my vision is only slight but may become a little better when I’m allowed to get new prescription glasses. Have to wait for the go-ahead for that from the eye clinic. I’ve had three eye injection sessions since the operation, the first of which was incredibly painful. Horrific in fact. They’ve been very careful to administer extra aesthetic drops ever since. Emiko and I have, unfortunately, contracted Covid recently, though we are now, finally, testing negative. I caught it first, and Emiko caught it from me three days later. Where I picked it up from I have absolutely no idea. We’ve both been incredibly careful to avoid it and have steered clear of catching it through the entire first two years of the pandemic, always wearing our face masks, always using hand sanitiser and trying to keep our distance from people. But the Government has, (prematurely in my opinion,) relaxed the restrictions and people now seem to be not taking proper care anymore, foolishly acting as if it’s all over, which it clearly isn’t. At the supermarket we are among only a handful of people still wearing our masks, the majority are simply acting as if the virus is non existent. Perhaps that’s where I picked it up? Anyway, we had a very rough few days suffering with it, despite being fully vaccinated, and it took us a couple of weeks before we shook it off and eventually tested negative. We still have some lingering effects from it though, particularly fatigue. I’m hoping this isn’t ‘long Covid.’ But it’s not like me to fall asleep in the middle of the afternoon, but that’s what has been happening. My energy seems very low for part of the day, though I’m managing to continue working in my studio at night when I feel up to it. And on that level there has been a lot of productivity with 53 new tracks completed so far. Some of these have been set aside for two new albums: ‘Marvellous Realms’ and ‘All The Fun Of The Fair.’ But the running orders are still undergoing changes and will probably remain in flux right up until the last moment. At some point in the near future I will have to decide how to deal with the remaining tracks from these sessions. There are definitely enough tracks left over for at least another couple of albums. I still, of course, have several unreleased albums sitting in my archives from the last five or six years. ‘Electra’ will be the first of these to see the light of day. It was meant to be released last month but my Covid infection delayed me being able to take the tracks over to John Spence at Fairview studio for mastering. (John also had a Covid infection a little earlier than myself.) However, I have now tomorrow afternoon booked with John at the studio and, once the album tracks are transferred to Fairview’s computer, they can be mastered and hopefully delivered to the factory for manufacture in the coming week or so, (once this extended Jubilee bank holiday is over.) Had a brief listen to a couple of the other of my archived albums today, ‘Phantom Fuzzbox’ and ‘Stupid-Serious.’ I was surprised by how good they sound. I haven’t heard them for a few years so it was like coming to them with the ears of a stranger. I think ‘Stupid Serious’ might be the next archive release, after the release of the newer ‘Marvellous Realms’ album . It’s fair to say that I really could sit back and not record anything more for quite a while as there is so much material awaiting release...but that would be frustrating and no fun for me at all. I simply love and embrace the recording process, and the unbounded creative dreaming that goes with it. Every day, my guitars seem to call out to me, the studio does too. I can’t imagine a day going by when I wouldn’t want to ‘make a mark’ on the virtual recording tape. It’s a joyous thing, though somewhat demanding of time and thought. But, if it’s sometimes difficult, it’s always deeply rewarding and fulfilling. It’s what I live to do. Lots of domestic duties constantly bringing this creativity down to Earth though. Django needing a vet’s very expensive attentions, car troubles, exterior house painting requiring setting up, increasing cost of living issues, guitar repairs in need of doing, etc, etc. Maintaining the creative lifestyle of a musician is not always plain sailing, though I’ve been lucky enough, (so far) in my career. And that despite some distressing and difficult moments over the years. But I’m blessed to have been able to follow my dreams for so long and to, hopefully, have those dreams continue and resonate with others. Music is a wonderful, magic thing... I could write more, particularly about this country’s lame duck/greased pig prime minister who seems to follow the old Trump style of governing this nation, albeit with added bluster, buffoonery and witlessness. But I’ll end here as I have more work to accomplish in areas that might hopefully be more kind and beneficial. So here is a list of the 53 tracks I’ve recorded in recent months and which will eventually reach the ears of those who care to hear: 1: ‘BEAMS OF LIGHT.’ 2: ‘SOME JIGGERY POKERY.’ 3: ‘A COMPASS IN MY MIND.’ 4: ‘IN THE BRIGHT TWILIGHT SKY.’ 5: ‘ALL THE FUN OF THE FAIR.’ 6: ‘A MAGIC FRAME OF MIND.’ 7: ‘FAST FORWARD, SLO-MO.’ 8: ‘RUNNING FROM MY OWN SHADOW.’ 9: ‘MAN OF DREAMS.’ 10: ‘SHAPE SHIFTER.’ 11: ‘SIGNALLING AS WE GO.’ 12: ‘THE WEATHER SONG.’ 13: ‘STARS AND HALOES.’ 14: ‘BEEP BEEP BEEP.’ 15: ‘THE CLOUD ENGINEER.’ 16: ‘A DISTANT MEMORY.’ 17: ‘THIS MAY SOUND STRANGE.’ 18: ‘A LITTLE WOOZY.’ 19: ‘THE WAY OF THE WORLD.’ 20: ‘ATOMIC CORAL.’ 21: ‘MEMORIES AND RECOLLECTIONS.’ 22: ‘PUSH THE BUTTON, SPIN THE DIAL.’ 23: ‘ELEVATOR TRANSCENDANT.’ 24: ‘CHELSEA FLASH.’ 25: ‘IT’S A LONG TIME BETWEEN DREAMS.’ 26: ‘MADAME MIDNIGHT.’ 27: ‘THEME FROM AN ENGLISH ECHO CHAMBER.’ 28: ‘HERE ON EARTH.’ 29: ‘THE SILENT HOUR.’ 30: ‘WIND IT UP AND WATCH IT GO.’ 31: ‘AZTEC HELICOPTER.’ 32: ‘KEEP YOUR TELESCOPE FOCUSSED ON THE STARS.’ 33: ‘MARVELLOUS REALMS.’ 34: ‘ONE A.M.’ 35: ‘DRAGONFLY WINGS OVER STILL DARK WATERS.’ 36: ‘ECHO MIRROR ONE.’ 37: ‘DRIVING A BLUE CAR TO THE STARS.’ 38: ‘WHOOPS! I’M GOING BACK IN TIME.’ 39: ‘GLORIOUS MARCH TO THE GATE OF SPRING.’ 40: ‘AFTER THOUGHT.’ 41: ‘ONCE I DREW PICTURES WITH LAKELAND PENCILS.’ 42: ‘IMAGINARY MUSIC.’ 43: ‘NEVERNOON.’ 44: ‘THE GOLD BEYOND THE BLUE.’ 45: ’THE ILLUMINATOR.’ 46: ‘MONDO BRAVADO.’ 45: ‘THE INVISIBLE KID IN THE CORNER.’ 46: ‘SPOOKY DOINGS.’ 47: ‘THE HOUSE OF MORPHEUS.’ 48: ‘DANCE OF THE SONIC CULTURE GODS.’ 49: ‘THIS RIVER.’ 50: ‘THE MYSTIC.’ 51: ‘ALLOW ME TO INSIST.’ 52: ‘DOCTOR SONAR’S WAITING ROOM.’ 53: ‘IN MY IMAGINATION.’