Private Parts and Pieces VI: Ivory Moon

Private Parts and Pieces VI: Ivory Moon is an album by Anthony Phillips, released by Passport Records in 1986. The album collects several of his pieces written for solo piano from 1971-1985. The title owes a debt to Monty Python's variety of humour.

Like his previous "Private Parts and Pieces" albums, Ivory Moon is a collection meant to showcase the range of Phillips' compositional and musical abilities, rather than a series of new pieces written with an album already in mind. With the exception of his playing keyboards on Mike Rutherford's Smallcreep's Day (1980), this was the first time Phillips had been on an album that did not feature his guitar work to some extent.

The album cover is a work entitled "Sea-Dogs Motoring" by Peter Cross, based on an impression of Leith Hill Tower in Dorking, England. As per most Anthony Phillips albums, the liner notes to Ivory Moon contain a running joke reference to Phillips's friend Ralph Bernascone: "Ralph Bernascone appears courtesy of Ravaged Records".

The photography on the album is credited to "Pierror Krols and Vic Stench of Thrombosis". This is also a running joke: "Vic Stench" is one of Phillips' pseudonyms.

Ivory Moon was reissued on compact disc by Virgin Records in 1991, and by Blueprint Records in 1996. These reissues include a new recording, based on Phillips' original September 1968 piano version, of the Genesis song "Let Us Now Make Love".

Read more about Private Parts And Pieces VI: Ivory Moon:  Track Listing, Personnel

Famous quotes containing the words private parts, private, parts, pieces, ivory and/or moon:

    Crotchless trouser allows wearer to show private parts in public. Neoprene-coated nylon pack cloth is stain resistant, water repellent and tickles thighs when walking. Tan-olive shade goes with most fetishes. Adjustable straps attach to belt for good fit and easy up-down. Pant is suitable for fast exposures as well as extended engagements. One size fits all.
    Alfred Gingold, U.S. humorist. Items From Our Catalogue, “Flasher’s Pants,” Avon Books (1982)

    One can describe a landscape in many different words and sentences, but one would not normally cut up a picture of a landscape and rearrange it in different patterns in order to describe it in different ways. Because a photograph is not composed of discrete units strung out in a linear row of meaningful pieces, we do not understand it by looking at one element after another in a set sequence. The photograph is understood in one act of seeing; it is perceived in a gestalt.
    Joshua Meyrowitz, U.S. educator, media critic. “The Blurring of Public and Private Behaviors,” No Sense of Place: The Impact of Electronic Media on Social Behavior, Oxford University Press (1985)

    It is now many years that men have resorted to the forest for fuel and the materials of the arts: the New Englander and the New Hollander, the Parisian and the Celt, the farmer and Robin Hood, Goody Blake and Harry Gill; in most parts of the world, the prince and the peasant, the scholar and the savage, equally require still a few sticks from the forest to warm them and cook their food. Neither could I do without them.
    Henry David Thoreau (1817–1862)

    I never had the sense of myself as an accomplished artist, and I always had to work three times as hard as anyone else to make my pieces as good as they could be. I am never completely satisfied. There always seems to be something just beyond my reach.
    Toshiko Takaezu (b. 1922)

    And ivory and bright gold,
    polished and lustrous grow faint
    beside that wondrous flesh
    and print of her foot-hold.
    Hilda Doolittle (1886–1961)

    The moon will run all consciences to cover....
    Allen Tate (1899–1979)