‘Here begins an Exercise in Pointlessness…’ are the opening words from a very old tape demo recording by Peter Jones used on the new documentary disc ‘Inside the Cocoon’, about the making of Tiger Moth Tales’ remarkable 2014 debut album Cocoon. Little did this unknown artist at the time know just what a dramatic impact his so-called Exercise in Pointlessness would have upon his life and career. Cocoon has long been unavailable, so Pete Jones and White Knight Records have taken the opportunity on the 10th anniversary to re-release the album with new packaging, and a delightful additional new song. Alongside that they have also released the companion CD/DVD set of fascinating insights into the album outlined on Inside the Cocoon and a recent acoustic gig.
Cocoon has become a much-loved album and Pete Jones has recently taken to asking his audiences what is his best Tiger Moth Tales album? Invariably the answer is Cocoon, which then leads to him wryly musing that he wonders why he has bothered making the other seven Tiger Moth Tales albums?! However, he graciously acknowledges that it is very gratifying that people seem to still love the album after so many years. It is interesting to look back with hindsight to try to understand what makes this album stand out and generate such affection from fans.
The working title for Cocoon was the rather more prosaic ‘Progressive Childhood’… thankfully, Pete Jones’ roadie Jim came up with the rather more poetic title, Cocoon. However, the working title lays bare the inspiration behind Cocoon – this is an album which is inspired by memories of childhood and the affect they still have upon us as adults. Pete has shared that not only is the album inspired by childhood, it also has elements dating back right to his younger days, particularly the bizarrely bonkers Isle of Witches. Pete’s fecund and precocious imagination created much of this song when he was about 11 or 12 years age (when it was called We are the Witches) and elements of that basic juvenile recording are interweaved into the final version of Isle of Witches. In all honesty, 11 minutes is a lot to ask the patience of listeners for this bizarre song, but if you survive this early song there is so much to reward those who persist! There is a magical child-like quality to the album, steeped in wistful nostalgia, which may explain this album’s enduring appeal.
There are four short interludes punctuating the album, based on the four seasons, and eight other songs of high quality, including three pieces which could well be regarded as modern melodic progressive rock classics in A Visit to Chigwick, Tigers in the Butter and Don’t Let Go, Feels Alright. Most albums would be content with at least one ‘banger’, but Cocoon is blessed with 3 stand-out tracks which will stand the test of time.
Overture commences with the sound of someone putting a cassette tape in a machine, and proceeds to do its job as an Overture as Pete Jones foreshadows the album with elements that appear throughout the album. It also establishes from the outset that this is a very talented musician who seems equally at home on electric guitar, keyboards or saxophone – Pete Jones played ALL the instruments (except the flugelhorn by Mark Wardle), showing remarkable versatility.
The first of three modern melodic progressive classics on the album is Tigers in the Butter, which was based on a teenage era song called Tigers and Butterflies. Pete once described this as the closest to his own Supper’s Ready moment’ (as it’s a nearly 15-minute epic) but typically he jokingly underplayed it by going on to give the alternative comparison as it being more like ‘Your Coffee’s Ready… and I think there may be a Hob Nob’! (😊)
The theme and atmosphere of Tigers in the Butter could be considered as actually skilfully encapsulating the whole artistic intention of Cocoon. The introduction features Pete playing the Indian instrument called the Sarod which, even for someone with his prodigious natural talent for picking up and playing instruments, he found very challenging indeed to play. However, he did learn enough to record a very atmospheric intro, which gives this piece an exotic and mystical feel, which is apt for a song about childhood exploration of the imagination and fantasies. Pete plays a memorable Hackett-esque guitar motif which recurs through the song. Somewhat appropriately Pete uses an ancient recording from his childhood days of a whimsical Casio keyboard beat in the middle of the song, which helps evokes a whimsical atmosphere. There is a real sense of nostalgia for simpler days of make-believe games, with occasional sounds of children playing. Despite being an epic song in length, it is actually a wonderfully simple, accessible and charming piece, especially the whistle playing, which evolves into an electric guitar picking up the melody. The finale of the piece is an emotional declaration over joyous, driving rock that ‘we live our lives in fantasy’. I have a very clear memory in 2016 at the Summers End Festival seeing the Tiger Moth Tales full band in their second only ever gig absolutely blowing away the lunchtime crowd with a brilliant performance (with many declaring that then relatively unknown act as ‘band of the weekend’), and they played such an evocative and stirring version of this song. I do not mind sharing that I recall a tear in my eye during this song, perhaps engendered by seeing an artist / band one has championed really making its first mark spectacularly well, but mainly by the beauty of the beguiling melody and the melancholic feeling of lost childhood evoked by the simple, touching words – we live our lives in fantasy indeed.
The First Lament is an instrumental in which Pete Jones plays a fluid, lyrical guitar solo, with more than a nod to Gary Moore or Steve Vai, based on a melody he had dreamed. He has explained that this song symbolises the first loss or sadness that a child experiences, and even without words when one hears it the sense of a first felt sorrow is very clear. In great contrast The Merry Vicar is absurd and comical, but is also very personal to Pete as it is based on a real vicar who was a family friend who was very supportive in Pete’s early days, and who had a great sense of humour. Pete has revealed that the comical voice in the song of ‘This is the man from Mars speaking…’ is actually a childhood recording of Pete’s beloved real ‘Merry Vicar’. Apparently, Pete and this vicar would play around on a piano writing silly songs and re-enacting ‘Goons’ sketches, which you can hear in the style of this song which is an ever present in Tiger Moth Tales sets.
The second nailed on modern classic is the now legendary A Visit to Chigwick, inspired by Pete’s love of U.K. children’s animated TV series ‘Trumpton, Chigley’ and ‘Camberwick Green’. Indeed, the simple acoustic intro is a pastiche of the Freddie Phillips ‘Trumpton’ theme. This magical song is absolutely pivotal in the history of this album and for Pete’s subsequent career in progressive rock. He has shared that he had spent years after his successful appearance in the inaugural ‘X- Factor’ series trying to carve out a career in ‘Adult contemporary’ or ‘Pop’ music, but like so many acts on those talent programmes finding little real sustained success. He has shared that he had struggled with writer’s block when trying to write a ‘pop’ album, but this idea of a song based on his childhood memories of Trumpton etc kept going through his mind. Eventually he thought he should re-focus on this song to try to clear it from his mind so he could focus on the more ‘serious’ business of writing a ‘Pop’ album. However, writing A Visit to Chigwick was the creative spark to inspire him to create the whole of Cocoon, and Pete has stated that it is not an understatement that this modest quirky song totally changed his life.
For such a significant song Pete starts it very humbly with the sound of a cup of tea being made (just how much more ‘proggy’ can you get?!), and he has acknowledged that this unusual intro was inspired by the same effect used on Sean Filkins’ wonderful War and Peace and Other Short Stories album of 2011. The Trumpton-esque acoustic guitar immediately transports us back to a ‘Tuesday afternoon in 1967’ (as he often introduces the song in concert) and the gentle lilting melody conjures up images of our early days. The mid-section visualises the characters of ‘Chigwick’ going about their day, on their train or in the fire brigade or just feeding ducks in the park. There is a danger that this could just have become a soppy song about a kids’ TV series, but what elevates it completely is the very real sense of regret and nostalgia which flows out of the end of section as he laments: ‘Was there ever such a place, is there a way we can go back in time to the quiet little town in my mind…’
This sentimental but touching song never fails to cast its spell over the Tiger Moth Tales audience, and one suspects Pete will hardly ever not be able to play a gig without playing this song… and he probably does not mind as without it so many doors would have remained closed to him.
The original album concludes with the third undoubted modern melodic progressive rock classic of the album in Don’t Let Go, Feels Alright, which remains my favourite Tiger Moth Tales song, and one of my favourite songs ever. This 13-minute extended piece is really 2 songs fused together intuitively and quite brilliantly, starting with Don’t Let Go‘s sound of a musical box, evoking an image of someone looking through a photo album or diary remembering their own childhood. There is a sense of grieving for one’s lost childhood, but building on the positives and moving on. The flowing delicate piano really heightens the emotions. The tempo rises as ‘The Child becomes the Man… Hold it in your Heart and Don’t Let Go’ and reaches a crescendo with a fluid saxophone solo, reminiscent of Supertramp. The acceptance and rebirth rising towards the end of Don’t Let Go reaches its zenith with a brief electric guitar solo and recedes into an orchestral sunset, and moves into the more reflective Feels Alright section – another beautiful melody and touching lyric. The sense of acceptance, reconciliation and gratitude is summed up simply and beautifully with the lines:
You made me Strong, You gave me Love,
You helped me grow and now I’m ready, ready to play my part’.
Just reading it may lead one to consider it is rather simplistic and even a bit mushy, but Pete Jones has a gift for framing these emotions in engaging and bewitching melodies which go beyond the merely sentimental and captures one’s heart. If this song does not touch one’s emotions, check for a pulse… and a soul. The song fades away until the sound of a tape being ejected, echoing the importance of that original demo tape, heard right at the beginning.
This re-release concludes with an additional new specially composed song, Return to Chigwick, in which Pete Jones reflects on this album and the incredible effect it has had upon his life and career. Pete has stated:
“ ‘Return To Chigwick’ takes a look back at all the wonderful things I’ve been privileged to be part of, like working with Camel, It Bites FD, Cyan, Magenta and more, as well as a string of albums. The song is also saying thank you to the Mothingtons, who have supported me and enjoyed Tiger Moth Tales for the past ten years. So many people tell me how much they still enjoy Cocoon, which is wonderful. I want to acknowledge them and thank them in the song”.
This is a delightful folky song, reminiscent of his Lockdown song Still Alive flowing along with acoustic guitar and synths, mentioning his gigs and achievements. It is a typically lovely and personal way to complete this re-release.
In addition to the main release White Knight records have released Inside the Cocoon, which is a CD / DVD set which includes an interview with Peter Jones as he reveals the background stories and circumstances which led to this album. The interview is interspersed with musical clips and previously unreleased live versions of some of these songs. These are fascinating and revealing insights into what inspired him. In addition, there is a recording of an acoustic Tiger Moth Tales gig from the Boerderij in the Netherlands earlier in 2024, supporting Cyan. This is a typically crowd pleasing set with some fine Genesis covers, showing the roots of his love of progressive rock from his early days, alongside a couple of songs from his most recent excellent album The Turning of the World and other Tiger Moth Tales gems. If you have never experienced one of his solo acoustic gigs this is an insight into how Pete captivates his audience with his musical skill, wit, charm and melodic talent. As an addendum to the main re-release of Cocoon this is well worth investing in.
Cocoon has long been unavailable as an CD or Vinyl (which is also planned imminently). The re-release of Cocoon comes with attractive new artwork and the new bonus song, which may be enough to entice previous owners of this album to obtain it again. If you have not got it yet this re-release is an absolute ‘must-buy’, and even if you have it’s worth a sparkling new trip down memory lane.
Lovers of classic progressive rock with a deeply emotional core and a wonderful sense of melody and harmony would love this fantastic album. Cocoon is a truly special album very close to my Heart, and to the Hearts of many others. Revisiting it and knowing much more about its origins has been an absolute delight…
I am so glad he got writer’s block and decided to do that silly song about Trumpton to get that ‘exercise in pointlessness’ out of his mind! Who knows how things develop sometimes, particularly when you follow what’s in your heart?
TRACK LISTING
Cocoon
01. Overture (4:32)
02. Spring (0:34)
03. The Isle of Witches (11:00)
04. Summer (0:28)
05. Tigers in the Butter (14:59)
06. The First Lament (7:38)
07. Autumn (0:29)
08. The Merry Vicar (6:39)
09. A Visit to Chigwick (8:48)
10. Winter (0:44)
11. Don’t Let Go, Feels Alright (13:33)
12. Return to Chigwick (5:35)
Inside The Cocoon (CD & DVD set)
CD
– Audio documentary, produced by Pete Jones, including behind the scenes audio from Cocoon’s creation, and previously unreleased live tracks.
DVD
– Interview in which Pete talks about Cocoon and what has happened since the album’s original release.
– Video for the new track, ‘Return to Chigwick’
– Live Tiger Moth Tales acoustic performance – Boerderij, Netherlands in 2024:
01. Turn it on Again (Genesis Cover) (4:59)
02. Feels Alright (3:06)
03. Dancing with the Moonlit Knight (Genesis Cover) (1:43)
04. The Carpet Crawlers (Genesis Cover) (3:54)
05. The Lock Keeper (3:40)
06. We’ll Remember (6:49)
07. Harold the Barrel (Genesis Cover) (4:04)
08. Ripples (Genesis Cover) (5:50)
09. Still Alive (6:43)
MUSICIANS
Peter Jones – Vocals, Guitars, Keyboards & Drum Programming, Talkbox, Saxophone, Whistles, Sarod, Zither, Melodica, Bells and Percussion
~ With:
Mark Wardle – Flugelhorn (Cocoon album)
Barley the Dog – ‘Tiger Roar’ (Cocoon album)
ADDITIONAL INFO
Record Label: White Knight Records
Country of Origin: U.K.
Date of Release: 6th September 2024
DISCOGRAPHY:
• Cocoon (2014)
• Story Tellers Part One (2015)
• Selling England for a Pound (Genesis Covers) (Download only) (2015)
• Live at the Borderline (Official Bootleg) (Download only) (2015)
• Peter Jones Plays Genesis – Seven Stones Turned (Download only) (2016)
• Live at Summer’s End (Official Bootleg) (Download only) (2016)
• The Depths of Winter (2017)
• The Mad Mothster’s Tea Party (Official Bootleg) (Download only) (2017)
• Story Tellers Part Two (2018)
• A Visit to Zoetermeer – Live (2020)
• Still Alive (2020)
• The Whispering of the World (2020)
• A Song of Spring (2022)
• Spring Re-Loaded (2022)
• A Visit to Oxfordshire (Live) (2022)
• The Turning of the World (2023)
• Cocoon (10th Anniversary Re-Release) (2024)
• Inside the Cocoon (2024)