Even now I see you fall
Your arms stretching out
The experience and lessons from Loveblows and Lovecries weighed heavily on the minds of Steven and Tim as 1994 began. The duo wanted the planned follow-up, Flowermouth, to be a crafted statement of artistic intent. Tim and Steven also wanted it to serve as a rejection of the atmosphere and culture that One Little Indian was forcing the band to operate in.
Sometime in mid-1993 Tim and I emerged from a long meeting with both our manager and our record company. We had been told that if we knew what was good for us we would start writing high-energy pop songs for our next album ‘Like The Shamen do’ as they put it. It was a depressing, dejecting experience.
Steven Wilson via Dann Chinn
Tensions with One Little Indian were not the only problems facing the band. The increasing complexity of the music along with a pair of semi-successful tours, had caused No-Man to migrate full time into the studio during the tail end of 1993.
Taking It Like A Man
With work on Flowermouth in progress, One Little Indian made the decision to release “Taking It Like A Man” as a remixed single to the American market. This decision came despite protest from the band.
Two separate releases were prepared, featuring very different track listings. An initial promo release featured almost entirely remixes of the track done by American DJ’s Mark Picchiotti and Teri Bristol.
The primary CD/vinyl release saw only two of a Picchiotti/Bristol remix alongside the 7″ and the full version of the track, with both “Housekeeping” and “Long Day Fall” attached as bonus cuts. It should be noted that the band had little to no input besides the presence of the 7″ mix and the inclusion of the two bonus cuts. The cover reused artwork from the 1993 Only Baby release
Bizarrely, this combination saw chart success in the US, eventually snagging number 34 on the dance charts during a five week run. Neither editions of the single have been rereleased
An additional remix of “Taking It Like A Man,” phrased on the release as “Take It Like A Man,” was prepared by Hot Tracks co-founder Ron Hester. It saw release on Hot Tracks own compilation Hot Tracks 13-4.
Tracklist (Promo Version)
- Taking It Like A Man (The Buddah-Pic Vocal Remix)
- Taking It Like A Man (The M.P.T.B.R.R. Well-Lubed House Dub)
- Taking It Like A Man (7″ Edit)
- Taking It Like A Man (The Crobar Penetration Dub)
- Taking It Like A Man (Marky P. & Teri B. Ram It Deeper Dub)
- Housekeeping (LP Version)
Tracklist (All Other Versions)
- Taking It Like A Man (7″ Edit)
- Taking It Like A Man (The Buddah-Pic Edit)
- Taking It Like A Man (Original Full Version)
- Taking It Like A Man (The Buddah-Pic Vocal Remix)
- Housekeeping (Bonus Cut) (LP Version)
- Long Day Fall (Bonus Cut)
(Information below taken from promo release unless otherwise noted)
A1. “Taking It Like A Man (The Buddah-Pic Vocal Remix)” – 6:47
- Remix, Additional Production & Engineering – Mark Picchiotti and Teri Bristol
- Additional Keyboards – Dave Sears
- Written By – Steven Wilson & Tim Bowness
Lyrics Unavailable
A2. “Taking It Like A Man (The M.P.T.B.R.R. Well-Lubed House Dub)” – 7:29
- Remix, Additional Production & Engineering – Mark Picchiotti and Teri Bristol
- Drum Programming – Ralphi Rosario
- Written By – Steven Wilson & Tim Bowness
Lyrics Unavailable
A3. “Taking It Like A Man (7″ Edit)” – 3:27
- Guitar/Keyboards – Steven Wilson*
- Vocals/Lyrics – Tim Bowness*
- Violin – Ben Coleman*
- Written By – Steven Wilson & Tim Bowness
I thought of your perfect limbs.
I thought of your mind;
I woke up hungry,
I woke up blind.
I thought of your flaming lips,
I thought of your smell;
I woke up choking,
Drowning in hell.Too weak to make the stand;
Just taking it taking it taking it like a man.
I thought of your breathing head,
I thought of your voice;
I lost my reason,
I lost my choice.
I thought of your beating heart,
I thought of your touch.
I thought of screaming.
I thought too much.
Too weak to make the stand;
Just taking it taking it taking it like a man.
Too weak to make the stand;
Just taking it taking it taking it like a man.
Too weak to make the stand;
Just taking it taking it taking it like a man.
Too weak to make the stand;
Just taking it taking it taking it like a man.
Too late to heal the madness,
Too late to understand.
B1. “Taking It Like A Man (The Crobar Penetration Dub)” – 7:17
- Remix, Additional Production & Engineering – Mark Picchiotti and Teri Bristol
- Additional Keyboards – Dave Sears
- Written By – Steven Wilson & Tim Bowness
Lyrics Unavailable
B2. “Taking It Like A Man (Marky P. & Teri B. Ram It Deeper Dub)” – 5:53
- Remix, Additional Production & Engineering – Mark Picchiotti and Teri Bristol
Lyrics Unavailable
B3. “Housekeeping (LP Version)” – 5:21
- Guitar/Keyboards – Steven Wilson*
- Vocals/Lyrics – Tim Bowness*
- Violin – Ben Coleman*
- Written By – Steven Wilson & Tim Bowness
You
Sit on the floor,
Broken like clouds.
You scratch your knees ’til they crack and bleed.
I
Walk out of the door,
Naked and bored,
And raise my head to the weeping sky.
You call my name but I can’t answer.
You call my name but I can’t say anything.
We
Looked at the sea,
Sat on the edge.
I gripped your hand until my fingers hurt.
Now,
Somebody screams on the same dirty beach;
He throws down his arms
And he falls to the sand.
You call my name but I can’t answer.
You call my name but I can’t say anything.
You call my name but I can’t answer.
You call my name but I can’t say anything.
(Information below taken from CD release unless otherwise noted)
1. “Taking It Like A Man (7″ Edit)” – 3:27
- Guitar/Keyboards – Steven Wilson*
- Vocals/Lyrics – Tim Bowness*
- Violin – Ben Coleman*
- Written By – Steven Wilson & Tim Bowness
I thought of your perfect limbs.
I thought of your mind;
I woke up hungry,
I woke up blind.
I thought of your flaming lips,
I thought of your smell;
I woke up choking,
Drowning in hell.
Too weak to make the stand;
Just taking it taking it taking it like a man.
I thought of your breathing head,
I thought of your voice;
I lost my reason,
I lost my choice.
I thought of your beating heart,
I thought of your touch.
I thought of screaming.
I thought too much.
Too weak to make the stand;
Just taking it taking it taking it like a man.
Too weak to make the stand;
Just taking it taking it taking it like a man.
Too weak to make the stand;
Just taking it taking it taking it like a man.
Too weak to make the stand;
Just taking it taking it taking it like a man.
Too late to heal the madness,
Too late to understand.
2. “Taking It Like A Man (The Buddah-Pic Edit) – 4:00
- Remix, Additional Production & Engineering – Mark Picchiotti and Teri Bristol
- Additional Keyboards – Dave Sears
- Written By – Steven Wilson & Tim Bowness
I thought of your perfect limbs.
I thought of your mind;
I woke up hungry,
I woke up blind.
I thought of your flaming lips,
I thought of your smell;
I woke up choking,
Drowning in hell.Too weak to make the stand;
Just taking it taking it taking it like a man.Like a man, like a man,
Like a man, like a man.I thought of your breathing head,
I thought of your voice;
I lost my reason,
I lost my choice.
I thought of your beating heart,
I thought of your touch.
I thought of screaming.
I thought too much.Too weak to make the stand;
Just taking it taking it taking it like a man.Too weak to make the stand;
Just taking it taking it taking it like a man.Like a man, like a man,
Like a man, like a man,
Like a man, like a man,
Like a man, like a man.Oh, like a man, like a man.
Too weak to make the stand;
Just taking it taking it taking it like a man.Too weak to make the stand;
Just taking it taking it taking it like a man.Like a man, like a man,
Like a man, like a man,
Like a man, like a man,
Like a man, like a man.Oh, like a man, like a man.
3. “Taking It Like A Man Original Full Version) – 7:40
- Guitar/Keyboards – Steven Wilson*
- Vocals/Lyrics – Tim Bowness*
- Violin – Ben Coleman*
- Written By – Steven Wilson & Tim Bowness
I thought of your perfect limbs.
I thought of your mind;
I woke up hungry,
I woke up blind.
I thought of your flaming lips,
I thought of your smell;
I woke up choking,
Drowning in hell.
Too weak to make the stand;
Just taking it taking it taking it like a man.
I thought of your breathing head,
I thought of your voice;
I lost my reason,
I lost my choice.
I thought of your beating heart,
I thought of your touch.
I thought of screaming.
I thought too much.
Too weak to make the stand;
Just taking it taking it taking it like a man.
Too weak to make the stand;
Just taking it taking it taking it like a man.
Too weak to make the stand;
Just taking it taking it taking it like a man.
Too weak to make the stand;
Just taking it taking it taking it like a man.
Too late to heal the madness,
Too late to understand.
4.”Taking It Like A Man (The Buddah-Pic Vocal Remix)” – 6:47
- Remix, Additional Production & Engineering – Mark Picchiotti and Teri Bristol
- Additional Keyboards – Dave Sears
- Written By – Steven Wilson & Tim Bowness
Lyrics Unavailable
5. “Housekeeping (Bonus Cut) (LP Version)” – 5:28
- Guitar/Keyboards – Steven Wilson*
- Vocals/Lyrics – Tim Bowness*
- Violin – Ben Coleman*
- Written By – Steven Wilson & Tim Bowness
You
Sit on the floor,
Broken like clouds.
You scratch your knees ’til they crack and bleed.
I
Walk out of the door,
Naked and bored,
And raise my head to the weeping sky.
You call my name but I can’t answer.
You call my name but I can’t say anything.
We
Looked at the sea,
Sat on the edge.
I gripped your hand until my fingers hurt.
Now,
Somebody screams on the same dirty beach;
He throws down his arms
And he falls to the sand.
You call my name but I can’t answer.
You call my name but I can’t say anything.
You call my name but I can’t answer.
You call my name but I can’t say anything.
6. “Long Day Fall (Bonus Cut)” – 5:17
- Instruments – Steven Wilson
- Vocal/Lyrics – Tim Bowness
- Violin – Ben Coleman
- Written by Bowness/Wilson/Coleman
Long day beneath an angry sky;
We talk about the life we share.
I pour myself into you,
You drain the day’s wild energy.
Falling, falling, falling into you.
Falling, falling, falling into you.
Falling, falling, falling into you.
I fall…
Flowermouth
Dissatisfaction with One Little Indian was the main factor in the push for change from the band. No longer concerned with chart numbers and fitting into the mould OLI had set for them, focus turned to the more complex and lush pieces that would make up the band’s next release, Flowermouth.
Taking the financial advance from OLI, expansions were made to Steven’s studio at No-Man’s Land and an all-star roster of musicians were recruited. Returning from the 1992 No-Man tour were keyboardist Richard Barbieri and drummer Steve Jansen. Taken from the 1993 tour were bassist Silas Maitland and future Porcupine Tree drummer Chris Maitland (no relation). Nucleus trumpeter Ian Carr was also brought in.
The biggest star however was legendary experimental guitarist and King Crimson founder Robert Fripp. Robert in turn brought in saxophonist Mel Collins, whose credits include the likes of King Crimson, Dire Straits and David Sylvian.
Robert would of course go on to enlist Steven to remix King Crimson’s back catalog as well as contribute guitar parts to Porcupine Tree’s 2007 album Fear of a Blank Planet and 2007 EP Nil Recurring. Robert would also contribute soundscapes to the Tim Bowness / Giancarlo Erra project Memories of Machines.
“Robert’s whole thing was just purely intuitive. He didn’t want to hear the song before. He said, ‘Just don’t play me the song, just roll tape’ and he just would produce music. And of course, it was a real buzz for myself and Tim. He was probably the first musician that I think we met that we could honestly say we’d grown up listening to what they did. I think he stamped an incredible kind of signature on the album. Everything he did on that was recorded in a very short period of time, about a day or two. It was inspiring.”
Steven Wilson
Opener “Angel Gets Caught In The Beauty Trap” summed up the new approach the band was taking. “Angel…” features a haunting set of sequencers, Frippertronics and drumming over which Ben Coleman’s violin, Robert Fripp’s guitar, Mel Collins’ Saxophone and Ian Carr’s trumpet get individual moments to shine.
“Imagine a traditional singer/songwriter ballad arranged by a Steve Reichian mimimalist composer; that was the idea that influenced this song. It’s a notion of fusing opposites, a combination of musical extremes.”
Tim Bowness via The Wire Magazine
Clocking in at just over 9 minutes on the original release (and later over ten minutes in the 2004 reissue) “Angel…” is one of the longest tracks in the No-Man catalog, being beaten only by a handful of other pieces. “Angel…” was also the first No-Man track to receive live drumming/percussion (courtesy of Chris Maitland) in the studio as opposed to previous usage of programmed drum machines.
The tracks origins span far back into the band’s early days, first appearing in 1990. It remains a favorite of both Tim and Ben.
“We first wrote and demoed the opening section while recording Swagger in Oct 1989, but during 1990-92 it wouldn’t have fitted in with our more pop / beat orientated direction, so we returned to it and completed it when we decided to make something more epic / expansive.”
Steven Wilson
“You Grow More Beautiful” can be considered a natural evolution of the dramatic ballads of Loveblows and Lovecries, with its roots being heard in tracks like “Beautiful & Cruel.” The track is the only one on the album to feature Steven playing every instrument.
“Animal Ghosts” combines the flutework of Mel Collins with a programmed drum/percussion pattern reminiscent of the Sweetheart Raw EP edition of “Bleed” and Robert’s distinctive guitar work. Buried within the noise is subtle percussion from Chris.
“Having just listened again to this I believe i’m playing solely bongos which are not really obvious until a breakdown in the track at 3:14. Then it’s possible to hear how they as real percussion differ from the other electronic drums & percussion previously heard.”
Chris Maitland
The inspiration for “Soft Shoulder” can be traced to Suzanne Vega’s 1992 album 99.9 F°. It was one of several tracks re-arranged in an acoustic form for an in-studio broadcast in the summer of 1994.
When we heard the Vega album (99.9 Fahrenheit) it was a revelation, particularly the blend of emotional songwriting and sonic innovation on tracks like ‘Blood Makes Noise’… It’s like a bridge between the avant-garde and the sheer glamour of pure pop.”
Tim Bowness via The Wire Magazine
“Shell of a Fighter” is built around the complex drum programming and Fripp’s soundscapes over which Mel and Ben get to solo. “Shell of a Fighter” also has the distinction as being the only track performed by Steven outside of No-Man concerts. While Tim’s live shows, be it as a solo artist, with pianist/BurningShed co-founder Peter Chilvers or with his group Samuel Smiles have always included a few No-Man tracks, Steven’s live shows by contrast have stuck to his solo material with a handful of Porcupine Tree tracks. This sole exception came as part of an acoustic gig performed in the Netherlands in 2000.
Energetic “Teardrop Fall” calls back to tracks such as “Swirl” and “Only Baby” with its usage of fast-moving drum machines. This is played against the serene string arrangements by Ben and the aggressive guitar playing from Robert. The demo version featured a flute sample taken from the King Crimson song “Lady of the Dancing Water” while the released version featured Mel performing a new solo.
“Watching Over Me” was at one point earmarked as a potential single and music video before OLI pulled their support. Another ballad, this time featuring beautiful guitar playing and string arrangements by Steven and percussion by Steve Jansen, the track has a rather unexpected second life. In 1999 it was re-recorded for the debut Tim Bowness / Samuel Smiles album World of Bright Futures. This new version was based off of the acoustic arrangement performed at various radio sessions in 1994. The closing violin section would be reused on the Returning Jesus opener “Only Rain”
I wrote it (the string section) in response to Tim’s song as I felt it gave the piece a stronger resolution.
Steven Wilson
While never finished, elements from the planned Mike Bennion directed music video for the track would end up being reused in later projects, most notably in several commercials that Steven would do the sound for.
“Simple” combines the potent power of Fripp’s guitar with the sampled vocals of Lisa Gerrard, the singer of Australian Neo-Classical Darkwave unit Dead Can Dance. The particular sample comes from the track “Song of Sophia” off of the band’s 1988 album The Serpent’s Egg.
Her writing credit on the song came at the behest of the band, who were impressed with the sampled usage of her voice. An alternate mix of the track exists that foregoes the opening sequencers and instead fades in to Fripp’s soundscapes. This version is an exclusive to the July 1994 issue of The Mix magazine
Robert’s eerie soundscapes coda to Simple was thrilling to hear in real time and the small room that was No mans land seemed to reverberate with the graceful intensity of his playing long after he’d packed his guitar away
Tim Bowness via https://timbowness.wordpress.com/album-writings/flowermouth/
Closer “Things Change” serves as almost a respite from the heaviness of “Simple” and a summary of the statement the band wanted to make. Built around a swirling combination of organ, guitar and drums, the track builds momentum over which Tim weaves a tale of heartbreak. As the track reaches its peak, Ben Coleman unleashes the finest violin performance of his life.
The solo on “ Things Change” was playing in my mind after listening to the track a few times, when I finally recorded it it was like it was there already and all I had to do is put the actual notes down .. a somewhat weird and wonderful experience………
Ben Coleman
Flowermouth received a good deal of positive press attention from the English music scene. Despite the reception as well as an increase in sales over Loveblows & Lovecries, the band would soon find themselves dropped by their publisher Hit & Run music as well as their US distributor Sony Records. One Little Indian along with the band’s manager would soon follow suit.
One Little Indian were willing to keep the band on, but for obvious reasons, the levels of support we’d known, would no longer be forthcoming. Four years of favoured treatment gave way to a rather longer period of self-management and creative reassessment.
Tim Bowness via https://timbowness.wordpress.com/album-writings/flowermouth/
By far the biggest departure however was that of violinist Ben Coleman, a casualty of the bands ever evolving sound and the decision to drop live touring as a whole. Ben’s departure would be the last lineup change in No-Man’s history. From here on, the band would operate as a duo.
“I was becoming frustrated trying to integrate violin into every song. I didn’t want a violin solo on every song. I wanted to hear flute, saxophone, or other sort of musical textures and other colours. You can begin to hear those on Flowermouth with the trumpets, the saxophones and the flutes.”
Steven Wilson
I think its natural thing if you are in a band, you want to be part of the band. You don’t want to be an outside contributor or a hired hand. You want to be apart of the band. When I realized I couldn’t be that, I just wanted to go.
Ben Coleman via Mixtaped
Flowermouth was released on CD, tape and vinyl in the summer of 1994. This would be the last vinyl release for No-Man until the Tonefloat label edition of Together We’re Stranger. The 1999 reissue by 3rd Stone saw “Angel,” “You Grow More Beautiful,” “Animal Ghost,” “Watching Over Me” and “Things Change” remixed by Steven. The 2004 KScope release kept these new mixes along with two bonus cuts from 1995’s Flowermix. Those tracks will be covered in depth elsewhere on the page.
Album artwork was done by Bill Smith Studios and features the bands earliest known collaboration with graphic designer Carl Glover, who would later contribute rtwork for every subsequent No-Man release.
At the time of no-man, Andrew (photographer Andrew Douglas) and I both loved the work of Guy Bourdin, a French fashion photographer of some repute, whose work featured regularly in photo magazines like Zoom, still a great magazine and one I subscribed to in the 70’s and 80’s. I used my son Will who was 12 at the time (a regular model, Will featured on may BSS covers, through the 80’s and 90’s).
I imagined all this flowery music coming out of the head of the artist. We wanted something painterly, but disturbing, something ‘hidden’ from the viewer, that would be revealed with the music and I remembered Renaissance flower paintings which had philosophical and obscure symbolism, each different flower with a different meaning. The work of Fantin-Latour had been used on the front of Power, Corruption and Lies for New Order in 1983 by Peter Saville. I wanted a photographic interpretation.
Bill Smith
“Watching Over Me,” “Simple” and “Things Change” were all included in the 2005 compilation All The Blue Changes: An Anthology
Tracklist (1994 Release)
- Angel Gets Caught In The Beauty Trap
- You Grow More Beautiful
- Animal Ghost
- Soft Shoulders
- Shell Of A Fighter
- Teardrop Fall
- Watching Over Me
- Simple
- Things Change
Tracklist (2004 Release)
- Angel Gets Caught In The Beauty Trap
- You Grow More Beautiful
- Animal Ghost
- Soft Shoulders
- Shell Of A Fighter
- Teardrop Fall
- Watching OVer Me
- Simple
- Things Change
- Angeldust*
- Born Simple*
All tracklist information taken from 2004 re-release
All tracks written by Tim Bowness & Steven Wilson
1. “Angel Gets Caught In The Beauty Trap” – 10:23
- Vocals – Tim Bowness
- Instruments – Steven Wilson
- Violin – Ben Coleman
- Guitar/Soundscapes – Robert Fripp
- Soprano Saxophone – Mel Collins
- Trumpet – Ian Carr
- Drums – Chris Maitland
- Fretless Bass – Silas Maitland
I step out of the shadows
And into the bright day,
I cannot breathe
For the smoke and the city smells.
My head comes alive
With the humming of engines,
I cannot scream
For the dust in my throat.
I stare at the lovers
As they stand in the doorway,
I cannot dream
For the dirt on my hands.
I came to this place with
A lifetime of memories;
Falling apart
Like the shoes on my feet.
Even now I see you fall
Even now I see you fall
Even now I see you fall
Your arms stretching out.
I remember the hot sand.
I remember the blue sky.
We sat side by side
And traded our names.
I remember the sweet air.
I remember the time when
I fell in love
Only to cry in my sleep.
Even now I see you fall
Even now I see you fall
Even now I see you fall
Your arms stretching out.
Even now I sometimes call
Even now I sometimes call
Even now I sometimes call
Your name in the night
In my dream
I feel you breathing
In my dream
I feel you breathe
In my dream
I feel you breathing
In my dream
I feel you breathe
2. “You Grow More Beautiful” – 5:26
- Vocals – Tim Bowness
- Instruments – Steven Wilson
I don’t know what you want from me,
I don’t know what you want me to be.
In my dreams it’s so easy to see,
In my dreams it’s so clear.
I look for my face in the patterns on the wall,
I look for my shape in the way the flowers fall.
I look for my faith in you
You grow more beautiful
As I fade away.
I don’t know what you want me to say,
I don’t know if you want me to stay.
In my dreams I find a way –
In my dreams I seize the day.
I look for my face in the patterns on the wall,
I look for my shape in the way the flowers fall.
I look for my faith in you
You grow more beautiful
As I fade away.
You grow more beautiful
I look for my face in the patterns on the wall,
I look for my shape in the way the flowers fall.
I look for my faith in you
You grow more beautiful
As I fade away.
I look for my faith in you
You grow more beautiful
As I fade away.
I look for my faith in you
You grow more beautiful
As I fade away.
3. “Animal Ghost” – 6:09
- Vocals – Tim Bowness
- Instruments – Steven Wilson
- Violin – Ben Coleman
- Guitar/Soundscapes – Robert Fripp
- Flute – Mel Collins
- Percussion – Chris Maitland
It’s too late to go now
It’s too late to know
There’s food on the table
There’s dust on your soulAnd the fire in your breath
And the fire in your head
Turning insideAnimal ghost – silence your eyes
Animal ghost – sleepwalk in the lightIt’s too hard to dream here
It’s too hard to think
There’s growth in the garden
There’s dirt in the sinkAnd the love in your mouth
And the love in your heart
Drifting away
Animal ghost – silence your eyes
Animal ghost – sleepwalk in the lightAnd the fire in your breath
And the fire in your head
Turning insideAnd the love in your mouth
And the love in your heart
Drifting away
Animal ghost – silence your eyes
Animal ghost – sleepwalk in the light
4. “Soft Shoulders” – 3:59
- Vocals – Tim Bowness
- Instruments – Steven Wilson
- Violin – Ben Coleman
The more I move,
The worse it gets;
The more I move,
The more I sweat.
It’s getting harder
To face the light.
It’s getting harder
To fight the fight.
So many big ideas,
So many big mistakes.
I should shake my fear
Erase my face.
All I see
Soft shoulders rising.
All I see
Soft shoulders fall.
It’s getting harder
To seem that easy.
It’s getting harder
To feel that free.
All I see
Soft shoulders rising.
All I see
Soft shoulders fall.
It’s getting harder
To face the light.
It’s getting harder
To fight the fight.
All I see
Soft shoulders rising.
All I see
Soft shoulders fall.
All I see
Soft shoulders rising.
All I see
Soft shoulders fall.
5. “Shell Of A Fighter” – 7:50
- Vocals – Tim Bowness
- Instruments – Steven Wilson
- Violin – Ben Coleman
- Guitar/Soundscapes – Robert Fripp
- Electronics – Richard Barbieri
I dream of changes.
I change my dreams.
I feel so restless,
Sometimes I get so mean.
Why should I bother
Finding the will,
When every movement I make
Just seems like I’m standing still?
The shell of a fighter,
The shell of a man,
The weight of a lifetime –
Waiting for your healing hands.
And still I rise,
And still I dream,
And still I feel,
And I wait.
The shell of a fighter,
The shell of a man,
The weight of a lifetime –
Waiting for your healing hands.
Why don’t you hold me
When I need you to?
Why don’t you touch me
When I reach for you?
Why don’t you hurt for me
Like I do for you?
Why don’t you dream of me –
Dream like I’m dreaming of you?
The shell of a fighter,
The shell of a man,
The weight of a lifetime –
Waiting for your healing hands.
The shell of a fighter,
The shell of a man,
The weight of a lifetime –
Waiting for your healing hands.
The shell of a fighter
And still I rise,
And still I dream,
And still I feel,
And I wait.
The shell of a fighter
6. “Teardrop Fall” – 4:39
- Vocals – Tim Bowness
- Instruments – Steven Wilson
- Violin/String Arrangement – Ben Coleman
- Guitar/Soundscapes – Robert Fripp
- Flute – Mel Collins
Why the noise
And why the protest?
Why try to talk
When it’s all been said?
Why the dream
And why the dreaming?
Why try to get away
When there’s no place ahead?
Feel the way teardrops fall.
Feel the weight
Teardrop fall.
Teardrop fall.
Why the rage
And why the anger?
Why try to fight
When you’ve got no defense?
Why the hope
And why the hoping?
Why try to understand
When it never made sense?
Shut your mouth
Close your eyes.
Don’t try to answer,
Don’t try to try.
Feel the way teardrops fall.
Feel the weight
Teardrop fall.
Teardrop fall.
Teardrop fall.
Shut your mouth
Close your eyes.
Ah, don’t try to answer,
Don’t try to try.
Feel the way teardrops fall.
Feel the weight
Teardrop fall.
Teardrop fall.
Teardrop fall.
7. “Watching Over Me” – 4:43
- Vocals – Tim Bowness
- Instruments/String Arrangements – Steven Wilson
- Percussion – Steve Jansen (incorrectly credited on the 2005 release)
- Violin – Ben Coleman
I look at your face,
You take me to the place
Where I don’t know anything,
Anything at all.
You flutter and dance,
I ramble and rant.
I don’t know anything
But I feel that if I fall
You’ll be
Watching over me,
Watching over me,
Watching over me.
I feel that if I fall
You’ll be
Watching over me,
Watching over me,
Watching over me,
Singing angel songs to right my wrongs.
The world leaves no trace
On my stainless face,
My days are clearer now
My nights are right.
I can never retreat.
I can never repeat
This hope for all the things
I know I’ll never know.
I feel you
Watching over me
Watching over me
Watching over me
And I can dream of love again
I feel you
Watching over me
Watching over me
Watching over me.
8. “Simple” – 7:03
- Vocals – Tim Bowness
- Instruments – Steven Wilson
- Guitar/Soundscapes – Robert Fripp
- Vocal Sample – Lisa Gerard
With the sun
On your lips,
You turn around
And spit.
You spit the moon right out of your mouth
For me,
You touch the sky and start to shout
Removing all my doubts
I could really love you,
I could give my heart away.
I could really love you,
It’s so simple,
It’s so simple.
I picture
My ideal.
How it looks,
And how it feels.
No more dreams turning to armchairs
Again.
No more plans turning to blank stares,
As long as you are there.
I could really love you,
I could give my heart away.
I could really love you,
It’s so simple,
It’s so simple.
it’s so simple, simple, simple…
I could really love you,
It’s so simple.
9. “Things Change” – 7:31
- Vocals – Tim Bowness
- Instruments – Steven Wilson
- Violin – Ben Coleman
- Guitar/Soundscapes – Robert Fripp
- Drums – Chris Maitland
You got so clever
You’re leaving me behind you.
You say you’re better
(You’re leaving me behind).
I remember
When heaven’s lips kissed your every word,
I pretended
Nothing you said could ever hurt.
You’re leaving me behind you
Leaving me behind.
You’re leaving me behind you
Things change
Leaving me behind.
Things change
You walk upon the dirt
And chocolate wrappers,
You’re leaving me behind you.
You move across the bridge
Over the river
Leaving me behind.
“Wherever you don’t go,
I’ll be by your side, ” you lied.
I hate the way things change.
You’re leaving me behind you
Things change
Leaving me behind.
Things change
Special thanks to Dann Chinn, Richard Smith, Bernie Quiroga and Chris Maitland
Heaven Taste
Work was well underway for a follow-up to Flowermouth during the first half of 1994. From these early sessions, two songs emerged that were demoed but eventually left behind as work shifted towards the more aggressive sounds that made up 1996’s Wild Opera. The first, “Songs from the Heart,” was a simple guitar sketch that would see the addition of drum machines and keyboards to become “Lighthouse.” Two different demos of “Lighthouse” were created before the song was dropped. While the completed “Lighthouse” would see release on 2001’s Returning Jesus, the demos, along with “Songs from the Heart” wouldn’t be heard until the Tonefloat edition of the album would released in 2006. The second, “Love You To Bits,” would eventually be completed and released in 2019 under the album of the same name.
With the band in-between labels but still wanting to release material, the Hidden Arts label was created as a means to self-release projects. Eventually the label would take on Samuel Smiles and the Colin Edwin project Ex-Wise Heads among other projects to its portfolio. The first of these releases was a compilation called Heaven Taste.
I think we created the Heaven Taste and Flowermix releases as place holders. They appeared after we’d been dropped by our manager, One Little Indian and Hit & Run, and I guess it was a means of keeping the band alive while we pondered our next moves.
Tim Bowness
Heaven Taste consist of 5 songs taken from B-sides, V/A compilations and leftovers from various sessions.
“Long Day Fall” and “Heaven Taste” had already seen previous releases on various OLI singles in 1993, while “Road” had been originally released as part of a Nick Drake tribute album back in 1992.
“Babyship Blue” is the only new track to feature on the compilation. Recorded during the sessions for Flowermouth, it was at one point planned to be the B-Side to the aborted Watching Over Me single. When the single was pulled, it was then transferred over to the still in progress Flowermix before finally ending up on Heaven Taste.
This was recorded during the Flowermouth sessions. We liked the piece, but it always felt a little tentative / experimental (I see it as an extension of something like Iris Murdoch Cut Me Up). That said, the very brief and stripped-down nature of the lyric is echoed in the title track of Returning Jesus. My inspiration for that approach lyrically was the extremely short poems of Ian Hamilton and Nick Drake’s Pink Moon
Tim Bowness
“Bleed” sees its third and final recording. This version keeps the aggressive styling of the Sweetheart Raw edition but trades Ben’s violin for the incorporation of “Say Baby Say Goodbye” as its energetic finale.
In terms of its feel and atmosphere, it’s always been a favourite piece (that worked surprisingly well live). In some ways, like other No-Man material, the initial recording can be seen as a work in progress. I’m thinking here of how tracks like Mixtaped and Time Travel In Texas were very different in a live context and continually seem to evolve in performance.
Tim Bowness
Beyond “Road” and an edited versions of “Heaven Taste” being featured on All The Blue Changes: An Anthology and a special reissue of “Heaven Taste” by Sahko Recordings in 2018, none of the tracks in this compilation have been made available on subsequent records.
Released in early 1995, the album was remastered and saw a change of cover in 2002. The remaster also extended the length of “Heaven Taste” from 21:20 to 22:30.
Tracklist
- Long Day Fall
- Babyship Blue
- Bleed
- Road
- Heaven Taste
All tracklist information taken from 2002 re-release
1. “Long Day Fall” – 5:21
- Written by Tim Bowness, Steven Wilson & Ben Coleman
- Vocals/Backing Vocals – Tim Bowness
- Instruments/Backing Vocals – Steven Wilson
- Violin – Ben Coleman
Long day beneath an angry sky;
We talk about the life we share.
I pour myself into you,
You drain the day’s wild energy.
Falling, falling, falling into you.
Falling, falling, falling into you.
Falling, falling, falling into you.
I fall…
2. “Babyship Blue” – 4:59
- Written by Tim Bowness & Steven Wilson
- Vocals – Tim Bowness
- Instruments – Steven Wilson
- Violin – Ben Coleman
I ran to the water before I could swim,
Lost in your hair.
I saw the dawn, I saw the dawn.
I touched the shining gown.
It’s all I can do not to scream for you.
3. “Bleed” – 6:54
- Written by Tim Bowness and Steven Wilson
- Vocals – Tim Bowness
- Instruments – Steven Wilson
Tell the truth
And tell it ’til it makes me bleed.
Stretch your mouth
And let your words fall over me.
No fight, no blame.
Talk to me;
I’ll bleed a little more for you.
Take the chance
To watch the red rise
From the white of my wide, wide eyes.
No fight, no blame.
Going nowhere, moving fast.
Saying nothing, nothing lasts.
No fight, no blame.
No search, no pain.
No dream, no gain.
No try, no fame.
No fight, no blame.
Blame.
I want you near me.
I want to feel free
To forget my history.
I want you near me.
I want to feel free
To destroy my memory.
I want you near me.
I want to feel free;
To forget my history.
To destroy my memory.
4. “Road” – 3:23
- Written by Nick Drake
- Vocals – Tim Bowness
- Instruments – Steven Wilson
You can say the sun is shining if you really want to
I can see the moon and it seems so clear
You can take the road that takes you to the stars now
I can take a road that’ll see me through
I can take a road that’ll see me through.
You can take a road that takes you to the stars now
I can take a road that’ll see me through
I can take a road that’ll see me through
I can take a road that’ll see me through.
5. “Heaven Taste” – 22:30
- Written by Steven Wilson
- Keyboards/Sampler – Steven Wilson
- Violin – Ben Coleman
- Fretless bass/Saxophone/Dida – Mick Karn
- Percussion/Drum Programming – Steve Jansen
- Keyboards/Programming – Richard Barbieri
- Saintly Restraint – Tim Bowness
Instrumental
Flowermix
With work beginning on Wild Opera and Steven on the road with Porcupine Tree for the bulk of 1995, the band decided to release a compilation of remixes that had been made of specific tracks of Flowermouth. Flowermix was the end result of that endeavor. Several of these tracks had already shown up in previous V/A compilations over the previous year.
Two distinct versions of Flowermix exist. The first is a cassette edition that features “Babyship Blue” and “Witching Ovaries.” The second is the more common CD edition that omits the previously mentions tracks and adds
“Angeldust” strips “Angel Gets Caught in the Beauty Trap” of its drumming, violin and trumpet, instead shifting focus to the guitar-work of Robert Fripp and the saxophone playing of Mel Collins. Unlike the bulk of the remixes on Flowermix, “Angeldust” retains the vocal track.
Under the eye of The Prophets of Bliss, “Faith in You” takes “You Grow More Beautiful” and turns it into a fast-paced almost drum and bass like track. A far cry for the art-pop sound of the original.
“All I See” is a trip-hop flavored take of “Soft Shoulders,” only keeping the vocal track and the basic melody of the original. The track was remixed by Andrew “Os” Ostler, who would go on to become one-half of the duo Darkroom alongside Tim’s former Plenty bandmate Mike Bearpark.
The distinctive strings of “Watching Over Me” are given the spotlight in “Natural Neck,” showing off the beauty of the composition. Created by Tim and producer David Kosten, “Natural Neck” would end up seeing a second life in the form of Returning Jesus opener “Only Rain.” David would continue to collaborate with No-Man in the coming years, helping to produce Returning Jesus as well as working on Steven’s seventh solo album, THE FUTURE BITES.
“Heal The Madness” is a rather unusual remix of the Loveblows and Lovecries leftover “Taking It Like A Man,” stripping the song of the infectious energy and replacing it with a more alien sound. In a preview of tactics that would be used on Wild Opera, outtakes of Robert’s soundscapes would be added to the track. Bizarrely neither Tim nor Steven can remember the reason the song was chosen for inclusion.
While only described as “version” on the album, the edit of “You Grow More Beautiful” is taken from the promotional video created by the band, projections designer Philip Ilson and lighting designer Tim Harding. Created in 1994, it would be the band’s last music video until the 1999 release of the Emma Curtis/Jodie Wick video for “The Ballet Beast.”
They (Philip Ilson and Tim Harding) were both very drawn to religious (primarily Catholic) imagery and created interesting backdrops that were both spiritual and surreal. The video – which was done very, very cheaply – was entirely their idea and incorporated a number of the live backdrops they’d created in addition to scenes of me lying on the grass (scintillating viewing!).
Tim Bowness
Another remix courtsey of Os, “Sample” turns “Simple” into a trippy club track while reusing some of Robert’s guitar riffs.
I was very limited in terms of what I could take from the original – the sampler I was using at the time had very little memory. So I would’ve looked for a strong hook.
Os
“Why the Noise?” juxtaposes harsh industrial beats with Tim’s vocal track from Teardrop Falls while also keeping elements of Ben’s violin and Mel’s flute present.
Only available on the initial tape version of Flowermix, “Witching Ovaries” is a trip-hop infused take on “Watching Over Me.” It was dropped from the CD version for unknown reasons. A similar fate befell the instrumental version of “Babyship Blue” that was also an exclusive to the original cassette version.
CD album closer “Born Simple” removes everything from “Simple,” leaving only Robert’s ghostly soundscapes behind. Clocking in officially at 12 minute (although closer to 15 minutes in actual length), its the longest release on the album and a fine demonstration of the power of Frippertronics. It also features a small hidden track in the form of an unused flute solo from Mel.
Of the 9 remix tracks (11 if you include the deleted “Witching Ovaries” and the instrumental for “Babyship Blue”), only “Angeldust” and “Born Simple” (albeit without the hidden track) would see a re-release in the form of the 2004 edition of Flowermouth.
Tracklist (Promo Tape Version)
A1: Angeldust
A2: Faith In You
A3: All I See
B1: Witching Ovaries
B2: Heal The Madness
B3: Babyship Blue
B4: Sample
Tracklist (CD Version)
- Angeldust
- Faith In You
- All I See
- Natural Neck
- Heal The Madness
- You Grow More Beautiful (Version)
- Sample
- Why The Noise?
- Born Simple
Tracklist information and credits taken from the CD version
1. “Angeldust” – 9:08
- Additional Production/Remixing – Steven Wilson
- Soprano Saxophone – Mel Collins
- Bass Loops – Silas Maitland
- Lead Guitar/Soundscapes – Robert Fripp
I step out of the shadows
And into the bright day,
I cannot breathe
For the smoke and the city smells.
My head comes alive
With the humming of engines,
I cannot scream
For the dust in my throat.
I stare at the lovers
As they stand in the doorway,
I cannot dream
For the dirt on my hands.
I came to this place with
A lifetime of memories;
Falling apart
Like the shoes on my feet.
Even now I see you fall
Even now I see you fall
Even now I see you fall
Your arms stretching out.
I remember the hot sand.
I remember the blue sky.
We sat side by side
And traded our names.
I remember the sweet air.
I remember the time when
I fell in love
Only to cry in my sleep.
Even now I see you fall
Even now I see you fall
Even now I see you fall
Your arms stretching out.
Even now I sometimes call
Even now I sometimes call
Even now I sometimes call
Your name in the night
In my dream
I feel you breathing
In my dream
I feel you breathe
In my dream
I feel you breathing
In my dream
I feel you breathe
2. “Faith In You” – 10:38
- Additional Production/Remixing – The Prophets of Bliss
Lyrics Unavailable
3. “All I See” – 6:52
- Additional Production /Remixing – Os
Lyrics unavailable
4. “Natural Neck” – 5:20
- Additional Production/Remixing – David Kosten and Tim Bowness
- Violin – Ben Coleman
Instrumental
5. “Heal The Madness” – 6:51
- Additional Production/Remixing: Steven Wilson
- Soundscapes: Robert Fripp
Too Late…
Too Late…
Too Late…
6. “You Grow More Beautiful (Version)” – 4:21
- Additional Production/Remixing – Steven Wilson
I don’t know what you want from me,
I don’t know what you want me to be.
In my dreams it’s so easy to see,
In my dreams it’s so clear.I look for my face in the patterns on the wall,
I look for my shape in the way the flowers fall.
I look for my faith in you
You grow more beautiful
As I fade away.I don’t know what you want me to say,
I don’t know if you want me to stay.
In my dreams I find a way –
In my dreams I seize the day.I look for my face in the patterns on the wall,
I look for my shape in the way the flowers fall.
I look for my faith in you
You grow more beautiful
As I fade away.I look for my face in the patterns on the wall,
I look for my shape in the way the flowers fall.
I look for my faith in you
You grow more beautiful
As I fade away.I look for my faith in you
You grow more beautiful
As I fade away.
7. “Sample” – 8:57
- Additional Production/Remixing – Os
- Soundscapes – Robert Fripp
Lyrics unavailable
8. “Why The Noise?” – 4:04
- Additional Production/Remixing – David Kosten
Why the noise
And why the protest?
Why try to talk
When it’s all been said?Why the dream
And why the dreaming?
Why try to get away
When there’s no place ahead?Feel the way teardrops fall.
Feel the weight
Teardrop fall.
Teardrop fall.Why the rage
And why the anger?
Why try to fight
When you’ve got no defense?Why the hope
And why the hoping?
Why try to understand
When it never made sense?Shut your mouth
Close your eyes.
Don’t try to answer,
Don’t try to try.Feel the way teardrops fall.
Feel the weight
Teardrop fall.
Teardrop fall.Teardrop fall.
Shut your mouth
Close your eyes.
Ah, don’t try to answer,
Don’t try to try.Feel the way teardrops fall.
Feel the weight
Teardrop fall.
Teardrop fall.Teardrop fall.
9. “Born Simple” – 12:03
- Additional Production/Remixing – Steven Wilson
- Soundscapes – Robert Fripp
- Flute (uncredited) – Mel Collins
Instrumental
“Witching Ovaries” – 4:48
- Additional Production and Remixing – Music By Numbers
I look at your face,
You take me to the place
Where I don’t know anything,
Anything at all.You flutter and dance,
I ramble and rant.
I don’t know anything
But I feel that if I fall
You’ll beWatching over me,
Watching over me,
Watching over me.
I feel that if I fall
You’ll be
Watching over me,
Watching over me,
Watching over me,
Singing angel songs to right my wrongs.The world leaves no trace
On my stainless face,
My days are clearer now
My nights are right.I can never retreat.
I can never repeat
This hope for all the things
I know I’ll never know.
I feel youWatching over me
Watching over me
Watching over me
And I can dream of love again
I feel you
Watching over me
Watching over me
Watching over me.
“Babyship Blue” – 4:59
- Written by Steven Wilson
- Instruments – Steven Wilson
- Violin – Ben Coleman
Instrumental
As 1995 drew to close, work was well underway on the next full length album by No-Man. The direction Tim and Steven would end up taking on this new release would be worlds away from the lush sounds of Flowermouth.
All The Blue Changes 