Green Man Said: World Gets in the Way
 
This song produced the biggest arranging knot of the whole project. Mark Kane correctly observed that this song was lacking a bridge, and during rehearsal one day he suggested what he said was the part Planxty would have played, followed by a drone. Integrating these parts produced various solutions, but I found early ones unsatisfactory. Very late in the game, when I actually considered sessions over, I bumped into Fernando Perdomo in our favorite local diner, Eddie Hill's Sushi-Thai. I considered the meeting serendipitous and signed Fernando up to contribute a part. Fernando is a major professional, and he did his preparation for the track carefully, discussing it with me over the phone and the Web at length before, to my great pleasure, he showed up at Looch's Miami Beach studio one day in July 2005 and produced a quite cosmic guitar part (he's pictured here in session, in Frampton Comes Alive regalia). Fernando's contribution was technically stunning and fascinating in itself, and yet according to some listeners a previously intimate and miniature all-acoustic folk track now felt unbalanced by this flamboyantly rocking electric addition. In short, though I now had a monster guitar landing on the track like a planet, I still had what felt like a structural problem in the mix, and sessions must now surely be completely over. 

 
 
In fact, after literally years of search I found my uilleann piper, and, while in the studio working on Seven Seas Behind, Eamonn Dillonn told me he wanted to have a go at conversing with Fernando's fearsome guitar. Again I found myself amazed in the presence of the creativity and adventurousness of Miami's musicians, as I had given up expecting to find an uilleann piper in Florida at all, let alone one who would countenance going up against a full-on rock guitar. The result is one of my favorite sequences on the album, in which its reds and greens, its rock and folk elements combine in what seems to me quite a unique way. I've always had a passion for that hybrid genre they call, usually derisively, "folk-rock" and here's why. The uilleann pipes speak with the voice of centuries here with the huge presence and presentness of Fernando's guitar, in some degree illustrating the lyric's concern with the album's bob and wheel, the space between dreams and reality.

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