Faraway tree is by far the gentlest tune on the album, and in some ways the most straightforward in its development. Also it’s the only one not built upon a machine-driven time track. My usual first step is playing rhythm guitar to a sampled drum or percussion track. Having strict time makes editing much easier, but in this case I looked for dynamics in the tempo to help intensify expression and so set the rather organic time with my initial guitar track. In fact there are no drums or percussion at all, unless you count the Glockenspiel, usually grouped in the percussion but used here as a melody instrument. More on the Glock later.
A very soft and intimate four bar intro figure played on the classical guitar sets the mood, before slipping into the first verse, where the melody and picked chords are combined. Beautiful real strings add lushness and take the pressure off the solo guitar. The strings are layered as usual by Jen Anderson. I am grateful to Jen for first suggesting to me that I write my own string parts… something I now love doing.
For the second verse my initial guitar stops playing the melody and picked chords and instead takes on a percussive rhythmic chord role, leaving the melody to a second guitar on the right hand side of the stereo mix. This is the same classical guitar (a Takamine EC 132-S for those interested in such things) but sounds quite distinct from the other because the expressive single note technique has such a different tone to picking. From this verse on the sound is bigger, with viola and cello added to the string section and a bass part played in unison on the Fender bass and Hammond organ. Also added to the mix are some delightful and very subtle weavings-in-and-out by George Butrumlis on accordion.
This verse is left hanging in tension, to be resolved by a chorus like refrain, introduced by an ascending slide guitar, the same little vintage Burlington Hawaiian acoustic I used for the gull effects on Sea daze. After this another breath-holding pause is finally broken by the third verse, with the Glockenspiel making it’s entrance. This addition followed another chance event. I happened to pick up a rather nice but quite modest vintage Glock at auction. Finding to my delight that it added a great texture to this particular arrangement I wrote a little part for it, and then had a great time recording it. Such is the nature of the process… letting chance play its part.
Well, there’s not much else to say, the tune continues happily through to its lullaby-like ending, except I wish all my recordings went as easily as this one. Perhaps I could mention the title. I wasn’t really thinking of the Enid Blyton story in particular, but of enchantments in general… sailing through moonlit-treetops on a ship of dreams.
Tags: FARAWAY TREE, gentlest tune, Glock