Private Parts and Pieces IV: A Catch at the Tables is the ninth studio album by English multi-instrumentalist and composer Anthony Phillips. It was released in April 1984 by Passport Records as the fourth instalment to his generic album series, Private Parts & Pieces. A release in the United Kingdom followed in 1990 by Virgin Records. Background and recording In October 1983, Phillips released his eighth studio album Invisible Men. At this point in his career, he was pressured into delivering more radio friendly material by his US-based label Passport Records. For his next release, Phillips decided to assemble the fourth instalment in his Private Parts & Pieces album series which showcase more "generic" tracks, including rough cuts, demos, and outtakes. This process began in the spring of 1983 after Invisible Men had been recorded. An early idea that Phillips had at this stage was to construct a suite consisting of short pieces from various library music projects he had been involved with, but this was dropped in favour of other tracks. The material on A Catch at the Tables was recorded between October 1979 and June 1982 at two locations: Send Barns, the studio Phillips had set up at his parents’ house in Woking, Surrey, and home studio named Englewood Studios in Clapham, London following his move there in the early 1980s. Phillips received assistance from his friend Dennis Quinn in naming many of the tracks on the album, having played the demo versions to him. Previous albums by Phillips included the artwork of English author and illustrator Peter Cross, but he was unavailable to produce for A Catch at the Tables due to other projects. Instead, Phillips sought permission to use a painting by Ed Tanner which had a quality to it that he liked. Music Side one "Arboretum Suite" is a suite of four-movement suite that Phillips wrote for the wedding of two friends in 1980, based on Winkworth Arboretum in Surrey. The liner notes detail a humorous description of the piece: "The music attempts to describe the social occasion as troops of bizarre-clad hikers set out in high spirits, armed with footballs and frisbees, upset the neighbours and fall in the lake before trudging their bedraggled way back to a warm fire and glorious tea". The last section, "Lights on the Hill", was a fully arranged song at first, of which producer Richard Scott had used