I can feel it in my blood that I belong to this strange and stony rock I stand upon yet I cannot put a name upon it I cannot place the time nor see the land as it once was nor tell which house was mine no I cannot put a name upon it which was where and when yet here I am a perfect stranger home again.

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Flags, rags, ferryboats, scimitars and scarves
every precious dream and vision underneath the stars
You climbed on the ladder
with the wind in your sails
you came like a comet
blazing your trail
too high, too far, too soon
You saw the whole of the moon!

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She is everywhere and noplace
Like a breath or like a wind
she moves among men
They would seek to hold her as a prize
But she is in the shadows,
the ocean and the sand
She is everywhere and noplace,
Her church not made with hands Uncontained by man.

I recorded "…Moon" on my own with a drum machine, then brought musicians in as they were needed. It's about a person who has a spectacular, meteor-like rise, but burns out or dies young. Though the song ain't about him, the nearest equivalent would be Hendrix. Adding a list of all the things the hero/heroine saw raised the emotional temperature. The final chorus now had an extra fatefulness. To express this I inserted "you came like a comet, blazing your trail", then a "comet", a firework sample from a BBC sound effects record. That sweetly collided with Anthony's sax solo, so that it sounds as if the sax erupts from the comet itself. Magic like that just happens. … The Beatles' "Penny Lane" influenced the trumpet break — the sudden injection of super-fresh, bright and clear horns, a sound of optimism and clarity. Bowie's "Fame" inspired the final descending vocal, thought up and sung by Karl. I wanted the whole thing to sound like a carnival.