weed out later, but didn't in fact weed out. ... But, that's okay -- it was fine for us at the time". Gregory thought "we probably did a little too much on one or two of the songs, but ... it's a great album, a really great collection of songs." Partridge did not attend all of the album's mixing sessions due to a bout of depression spurred by the Reid litigation. "Literally half a million pounds had gone flapping out the window to various parties and it depressed me incredibly," he remembered. "I started to drink heavily in those last few weeks and went off the rails a bit. I had to get back to England to calm myself down." He left them with "a long list of requirements ... in the mixing" and returned home on 7 October, likely with Moulding, while Gregory stayed for the end of mixing. Work on the album was completed when the group approved Fox's final mix on 22 October. By then, the project had gone at least £30,000 over budget. Songs Side one "Garden of Earthly Delights", the album's psychedelic opening song, is written as a children's guide to the world. Partridge's reaction to listening to the song for the first time after many years was "Jesus there's a lot on this track!" He intended the piece to sound "like this crazy tapestry of camels and elephants and belly dancers and all the Arabian Nights, interwoven -- a big ornate Eastern rug come to life". One of the slide-down parts was played by turning down the tuning peg of Moulding's bass guitar. Partridge refused to answer whether the lyric "can't all think like Chekov" refers to the Star Trek character Pavel Chekov, or the Russian playwright Anton Chekhov. "Mayor of Simpleton" adopts a jangle pop style. It developed as a reggae tune and went through numerous different versions. He settled on its final arrangement after discovering a C major to D major picking pattern that he thought resembled Blue Öyster Cult's "(Don't Fear) The Reaper" (1976). Unlike many other XTC songs, he instructed a specific bass part to Moulding: "Colin had to work very hard to get that bass line. It's very precise. It took me a long time to work it out, because I wanted to get into the J.S. Bach mode of each note being the perfect counterpoint to where the