Fegmaniax Digest Volume 3 Number 9 Today's Topics: ------- ------ A song of Robyn's.... AT LAST I'VE FOUND YOU!!! Hello, world... Honey, There's a New Way To Get In Question for Robyn... Reissues: My 2 cents worth So you think you're in love - chords at last, i've downed you! cd boots/robyn and j cope chords (was: So you think...) clarification - AT LAST I'VE FOUND YOU!!! discovering RH eight years on . . . internet overflows new member intro re-issues robyn's accent virtual interview, irc [][][][][][][][][][] Date: Tue, 31 Jan 1995 13:57:10 +0100 (MET) From: Sebastian Hagedorn To: Mike Hardaker Cc: fegmaniax@ns2.rutgers.edu Subject: Re: Hello, world... Reply-To: Sebastian Hagedorn On Mon, 30 Jan 1995, Mike Hardaker wrote: > As I say, I've browsed through the archives, and I get the impression that > quite a few of the mailing-list members are musos. One thing I'd like to get > (and to which I would obviously be willing to contribute) is some of the > chord sequences of The Man's songs - particular bete noirs including the > first chord of the first bridge in 'So You Think You're In Love?'. > > The nearest I've got is a weird inversion of F#7, which looks like this: > > EADGBe > 012320 > > But I'd be really grateful if someone could give me a better alternative... Hi! I always thought that it's simply a D# followed by an E, played as bar chords on the 6th and 7th fret. Greetings, Sebastian -- Sebastian Hagedorn "I am unable, yonder beggar cries, Linguistic Data Processing, To stand or move. If it be true, he lies!" System Administrator Cologne University, Germany E-Mail: Hagedorn@spinfo.uni-koeln.de WWW: http://www.spinfo.uni-koeln.de/~hgd/ --- [][][][][][][][][][] Date: Tue, 31 Jan 1995 09:41:09 -0500 (EST) From: Pamela A Lowy To: ST56T@jetson.uh.edu Cc: fegmaniax@ns2.rutgers.edu Subject: Re: AT LAST I'VE FOUND YOU!!! Reply-To: Pamela A Lowy Hey, uh... you signed off "slipping you all the midnight fish", but... um... doesn't that mean you're having sex with us? I mean, uh... I don't think you're having sex with _me_, anyway. Um... 'cuz Robin said something about how phallic fish are, and um... well, I just assumed... "slipping you the midnight fish", well... Okay, so I'm a pervert. Aren't we all? I dunno... but I certainly am. I'm not old yet, so I don't lurk under bridges. -Pam * "Life is a long trip - terrifying and wonderful" - Henry Rollins [][][][][][][][][][] Date: Tue, 31 Jan 1995 10:12:53 -0600 (CST) From: JAY LYALL Subject: Re: AT LAST I'VE FOUND YOU!!! To: palowy@christa.unh.edu Cc: fegmaniax@ns2.rutgers.edu Reply-To: JAY LYALL >From: IN%"palowy@christa.unh.edu" "Pamela A Lowy" 31-JAN-1995 09:32:13.44 >Subj: RE: AT LAST I'VE FOUND YOU!!! > >Hey, uh... you signed off "slipping you all the midnight fish", but... >um... doesn't that mean you're having sex with us? I mean, uh... I don't >think you're having sex with _me_, anyway. Um... 'cuz Robin said >something about how phallic fish are, and um... well, I just assumed... >"slipping you the midnight fish", well... Okay, so I'm a pervert. Aren't >we all? I dunno... but I certainly am. I'm not old yet, so I don't >lurk under bridges. -Pam * > "slipping you the midnight fish" was a very popular euphamism for the DEED in my clique for sometime, but I was always partial to the line from _Pig Worker_: "...I'm gonna work my pig on *.*" (you was always replaced with the target of our lust) just thoughts jay %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% Jay Lyall "Capy Toad Blast" "I'd never belong to a club that hist1a@jetson.uh.edu would have me as a member." --Groucho Marx "Some things come in, Some things come out, "We'll inherit the Earth, And next time round But we don't want it." I'll be a trout." --Replacements --Robyn Hitchcock %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% [][][][][][][][][][] Date: Tue, 31 Jan 1995 12:01:40 -0800 (PST) From: Bayard Catron Subject: internet overflows To: Pamela A Lowy Cc: ST56T@jetson.uh.edu, fegmaniax@ns2.rutgers.edu Reply-To: Bayard Catron On Tue, 31 Jan 1995, Pamela A Lowy wrote: > Hey, uh... you signed off "slipping you all the midnight fish", but... > um... doesn't that mean you're having sex with us? I think the case could be made that all net.communication is sexual... aside from the obvious (people masturbating on irc, alt.sex's readership of over 80,000; people meeting and eventually marrying beacuse of the net); there's all those bytes mingling in the cyberdarkness, the dizzying highs (fegmaniax), terrifying lows (usenet), big machines humming and vibrating, this plugged into that, you know...... so it's really no surprise that you misunderstood this reference to Robyn's song about mackerel smuggling. ;) [][][][][][][][][][] Date: Tue, 31 Jan 1995 14:16:08 -0500 (EST) From: Pamela A Lowy To: JAY LYALL Cc: fegmaniax@ns2.rutgers.edu Subject: Re: AT LAST I'VE FOUND YOU!!! Reply-To: Pamela A Lowy > "slipping you the midnight fish" was a very popular euphamism for the DEED in > my clique for sometime, but I was always partial to the line from _Pig Worker_: > "...I'm gonna work my pig on *.*" (you was always replaced with the target of > our lust) > > just thoughts > > jay Jay! You just reminded me of the phrase of choice amongst my boyfriend's pals: "she wants yer hog". Or "she wants my hog". Or "do you want my hog?" Fairly revolting but also very funny. I only get weird about it if I try to think about it literally. Yuck. Penises are much nicer than hogs or pigs. As for fish, well, some things are better suited to fish, aren't they? =), pam * [][][][][][][][][][] From: BRUCE%TOYVAX@Arizona.EDU Date: Tue, 31 Jan 1995 13:54:56 -0700 (MST) Subject: re-issues To: fegmaniax@ns2.rutgers.edu Reply-To: BRUCE%TOYVAX@Arizona.EDU Hello, While we seem to be on this re-issues thread I thought I would mention even though it is not directly Robyn related a word of warning. The Holland remaster of Ummagumma is below my standards and I would highly recommend not buying it. the hiss level on the live cd blows away the music ( except on Astronomy ). I was pleased with the Piper remaster ... the booklet is done very well and there are things in the mixes that are more pronounced... I could here a guitar in Interstellar Overdrive that I had never noticed in the original. But the Ummagumma booklet has pictures from the 78 tour! The studio cd seems to have buried things more in the mixes... and on the cross-fades ( like the birds in Grandchester meadows ) the hiss level is unbearable on headphones! They even took out the SFOS cover from the 4rth reflection ( on the cover ). enough complaining. bh --Boundary (ID 8YycwWP4j/4D8L+VXBn6rw)-- [][][][][][][][][][] From: ST56T@jetson.uh.edu Date: Tue, 31 Jan 1995 18:49:33 -0600 (CST) Subject: clarification - AT LAST I'VE FOUND YOU!!! To: fegmaniax@ns2.rutgers.edu Reply-To: ST56T@jetson.uh.edu Ummm, sorry, Pam, and anyone else who might have felt encroached upon by my appropriation of "slipping you the Midnight Fish". I had a vague inclination that this is sexual, but I intended it merely as The Weirdest, Warmest, Most Heartfelt Greeting I Could Think Of. Incidentally, since I am over 1,000 miles from my fiancee, I shan't actually be slipping anyone anything of this sort for quite some time . Also, here are my possibly-very-stupid questions: New album? Last I read, Robyn was engaged (this was Rolling Stone's article around Respect's release). Is he married now? General opinion of "The Kershaw Sessions"? If these topics have been exhausted, please e-mail patiently. Wow, my first 24 hrs. on Fegmaniax, and I've already started a thread! Ah, the flush of success... Please, as I said before, forgive me for any discomfort the whole "Midnight Fish" thing might have caused. Take care. Dolph Chaney st56t@jetson.uh.edu [][][][][][][][][][] From: GOOSENMK@ctrvax.vanderbilt.edu Date: Tue, 31 Jan 1995 19:38:59 -0600 (CST) Subject: Honey, There's a New Way To Get In To: fegmaniax@ns2.rutgers.edu Reply-To: GOOSENMK@ctrvax.vanderbilt.edu DOLPH sez: > Please, as I said before, forgive me for any discomfort > the whole "Midnight Fish" thing might have caused. 's o.k., didn't feel a thing! Later, Miles [][][][][][][][][][] Date: Tue, 31 Jan 1995 23:54:30 -0800 (PST) From: Bayard Catron Subject: at last, i've downed you! To: ST56T@jetson.uh.edu Cc: fegmaniax@ns2.rutgers.edu Reply-To: Bayard Catron On Tue, 31 Jan 1995 ST56T@jetson.uh.edu wrote: > but I intended it merely as The Weirdest, Warmest, > Most Heartfelt Greeting I Could Think Of. you ought to write ads for Hallmark... ;) > New album? not for a while yet-- Robyn's being very painstaking with this one. Apparently it was mostly done, then shoved to the back burner due to a change of heart and mind (then there's that little matter of a label)... he says he may release it at the end of this year. > > Last I read, Robyn was engaged (this was Rolling Stone's > article around Respect's release). Is he married now? rumor has it that he and his fiancee Cynthia split up around the time of the Soft Boys reunion last year. He is said to be seeing someone else at this time, perhaps to the disappointment of the chickies :) > General opinion of "The Kershaw Sessions"? well I'm certainly not sorry I bought it, there are some interesting versions on there and it's well recorded and lengthy. Wouldn't have minded some rarer songs though. > Please, as I said before, forgive me for any discomfort > the whole "Midnight Fish" thing might have caused. ooh, my prawn will never be the same.... ;') bayard [][][][][][][][][][] From: mikester@bix.com Date: Wed, 01 Feb 1995 18:45:12 -0500 (EST) Subject: Re: Reissues: My 2 cents worth To: fegmaniax@ns2.rutgers.edu Reply-To: mikester@bix.com > I always HATED the horns on it. I always thought they were a bit on the ultra-cheeze side. >IODOT sounds a bit cleaner, with more definition Having never seen IODOT on CD before this, of course I picked it up. ---Mike ----------------------- "People ask me why I'm obsessed with fish, but it's not true. They're just there" ---Robyn Hitchcock, 3/25/88 ----------------------- [][][][][][][][][][] Date: Thu, 2 Feb 1995 14:48:43 +1300 To: hardaker@iaccess.za (Mike Hardaker) From: james.dignan@stonebow.otago.ac.nz (James Dignan) Subject: So you think you're in love - chords Cc: fegmaniax@ns2.rutgers.edu Reply-To: james.dignan@stonebow.otago.ac.nz (James Dignan) From: hardaker@iaccess.za (Mike Hardaker) >...I get the impression that quite a few of the mailing-list members are >musos. One thing I'd like to get (and to which I would obviously be willing to >contribute) is some of the chord sequences of The Man's songs - particular >bete noirs including the first chord of the first bridge in 'So You Think >You're In Love?'. >The nearest I've got is a weird inversion of F#7, which looks like this: >EADGBe >012320 >But I'd be really grateful if someone could give me a better alternative... Ah, the joys of playing by ear... lets have a go at this.... It's some form of E flat!!! (or possibly E diminished) The chords: so you think you're in (C#m, B, A) well you probably (E, Esus, E) but you wanna get (A) about it (B) yes you wanna get (A) about it (B) (repeat pattern) Bridge: (Eb E A E, Eb G#m) the (A) majority's the (Am) of the century (F# F#7) then the verse 2nd bridge: (F#m E C#m B, F#m E C#m A F#, A F#, A F#) back to the verse coda: so you think you're in (C#m B A E F#) yeah (E) Any others you wanna know? :) J. James Dignan, Department of Psychology, University of Otago. Ya zhivu v' 50 Norfolk St., St. Clair, Dunedin, New Zealand pixelphone james.dignan@stonebow.otago.ac.nz / steam megaphone NZ 03-455-7807 * You talk to me as if from a distance * and I reply with impressions chosen from another time, time, time, * from another time (Brian Eno) [][][][][][][][][][] Date: 01 Feb 95 21:06:01 EST From: Benjamin.M.Brainard@dartmouth.edu (Benjamin M. Brainard) Subject: Re: Reissues: My 2 cents worth To: fegmaniax@ns2.rutgers.edu Reply-To: Benjamin.M.Brainard@dartmouth.edu (Benjamin M. Brainard) does anyone know if there is a difference between the IODOT reissue and the cd release on midnight music? Are there any additional bonus tracks? ..edgar ps. woj...your tapes went out today, priority mail and all that stuff... [][][][][][][][][][] Date: Wed, 01 Feb 95 18:45:11 From: Russ Reynolds To: fegmaniax@ns2.rutgers.edu Subject: discovering RH Reply-To: Russ Reynolds Fegs, I've enjoyed reading everybody's "introduction to Robyn" stories and I guess it's about time for me to add mine... Back in 1980 when I was just starting out in college radio I was listening to a friend of mine doing her first shift on KFJC...included therein was a "Hot Trax" new album feature, and she was spinning the just released "Underwater Moonlight". As I was at work at the time I wasn't paying too close attention to the music--until I heard "Queen Of Eyes." Back then I was heavy into 60's music and the Byrds in particular so I instantly fell in love with that tune and bought the album the next day. I listened to it quite a lot at first, but at some point shelved it for about a year (I was buying so many albums back then I barely had time to listen to them). After giving the album a rest I brought it out again, and damned if it didn't STILL sound like the best thing in my collection! I started listening more closely to the other Soft Boys records I had at my disposal, as well as Robyn's solo stuff, and I eventually came to the realization that EVERY SONG THIS GUY WROTE was INCREDIBLY GREAT! I began to wonder why RH wasn't a huge star, and I started giving my friends tapes of his music to listen to (100% conversion rate!). Seeing him live for the first time (with The Egyptians, Berkeley Square) of course added a whole new dimension, with his hilarious stories between tunes. What an incredible mind! What an incredible FIND! A more that worthy replacement for John Lennon as the object of my obsession. couple of other notes: Robyn did a free show at Golden Gate Park a few years back (Queen Elvis tour), and after the show I saw him get into a red VW bug with vanity plates that spelled "eclectic" (ECLKTC or someting similar). The driver had long brown hair, so I guess it wasn't Cynthia. Was it anyone on this list? jojones@mailbox.syr.edu remarked: "I've never known a fan (of anyone) to hold the object of their admiration under such scrutiny" Obviously John doesn't know any baseball fans. :) that's all. Russ rreynolds@ksjo.com "Ease your own shorts off" [][][][][][][][][][] Date: Thu, 2 Feb 1995 00:24:12 -0500 (EST) From: Eve Emshoff Subject: Re: new member intro To: "R. Hitchcock list" Reply-To: Eve Emshoff Hello. . . another new member intro. I thought I'd warn you ahead of time, in case you want to skip this e-mail message. My name's Eve Emshoff; I'm a 24-year old photography student in Michigan. I've glad to finally get onto the list; I'd tried for months, only to have my mail sent back to me. Thanks to my friend (and fellow list member) James for letting me know this was back on-line!! I've been into The Soft Boys and Robyn Hitchcock since Fegmania. I first heard some tracks being played on the local college radio station, and was very impressed by the catchy pop hooks, but at the same time was aware of a strong vein of idiosyncrasy. I heard "The Man with the LIghtbulb Head," and things were never the same. Hey, I'm also a Julian Cope fan. . .I think there's a similarity there. . . I'm equally fond of both the Soft Boys and Robyn's solo work and with the Egyptians, though for different reasons. Glad to join the party. Eve [][][][][][][][][][] Date: Thu, 2 Feb 95 09:25 GMT+0200 To: james.dignan@stonebow.otago.ac.nz (James Dignan) From: hardaker@iaccess.za (Mike Hardaker) Subject: Re: So you think you're in love - chords Cc: fegmaniax@ns2.rutgers.edu Reply-To: hardaker@iaccess.za (Mike Hardaker) James wrote: >2nd bridge: (F#m E C#m B, F#m E C#m A F#, A F#, A F#) Doesn't this end with runs from A, via Chm7 to F#, and then, on the final go, to F#7? And as for the 'missing chord', I think it's what yer jazzers would call an Eb/Bb. But thanks for the comments, because I'd given up on Eb as a starting point. I'm still not totally convinced - it could be a six-string Bbdim (6th fret), but the hell with it - Eb sounds just fine for now :-). ************************************** * Mike Hardaker hardaker@iaccess.za * ************************************** [][][][][][][][][][] From: Bpaige@aol.com Date: Thu, 2 Feb 1995 08:12:50 -0500 To: fegmaniax@ns2.rutgers.edu Subject: eight years on . . . Reply-To: Bpaige@aol.com good to see this digest back in business and i hope i get a chance to hear the tribute tape -- i'm probably too late to whip out a version of "brenda's iron sledge" (if there's still room let me know!!) but it will be fun to hear everyone's efforts. anyway, i have no deep, meaningful comments to add to the following, an article published in March 1986 in the Illinois Entertainer (some of you may have read it back then!). actually, it ties in with the recent "dream" exchanges rather nicely. the interview for the story was conducted by yers truly in the basement of the vic theater in chicago, probably in february of 86 (coulda been january i suppose) and as another contributor has mentioned, he was slightly irritated and grouchy at having to do it, but in a professional way, he carried on. still, i think you all will enjoy the quotes (if not my accompanying prose, which i have not altered from the day it was turned in; i am an older (41), wiser fan today) -- i'm sure i used anything that was usable! he did not disappoint in the humorous ranting dept. i don't believe the recorded interview survived. too bad. I hope hope hope I haven't posted this before -- if that has happened, sorry for wasting the bandwidth. \_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_ "I don't believe in god, but I do believe god is man's greatest creation." --Camille Paglia\_\_\_\_\_\_\_\_\_\_\_\_\_\_\_ Illinois Entertainer March 1986 Robyn Hitchcock--Dreaming of Heaven by Bill Paige The dream starts idyllically enough; a dark, airless journey to Venus, the planet of unconditional love, where the spirits detect within each drop of gaseous mist an entire world of sweetness and tranquillity. There is no physical sensation, of course, nothing to touch, almost beyond comprehension. Unable to return such love, the dreamer becomes uncomfortable in his reverie, and the images begin to change quickly. A dead wife. Tadpoles and snakes swim menacingly away, destined to return. Insect eggs explode into life. The man with the light bulb head. The dream is Robyn Hitchcock's and he can't escape any part of it. The dream is his life. "A song is basically a magical invocation or an exorcism of the state of mind of the writer," Hitchcock says, explaining how he keeps his dreams from driving him mad. "And depending on the size of the writer's pores, he or she will let in greater or smaller lumps of the outside world. "I've got very large pores, so I let in large lumps of the outside world, then let them back out undigested. Rearranged, but not necessarily damaged." Hitchcock, formerly of the Soft Boys ("I'm getting rather sick of talking about it, actually," he says.), is now traversing the globe with his band, the Egyptians. Where he's been is not nearly as interesting as where he's going, but there is some merit in placing this mysterious musical charlatan (using the word with a minimum of negative connotation) in time. Late in 1977, England's Raw Records released Give It To The Soft Boys, an EP described as "a combination of punk aggression and the despondent imagery that would characterize most of their songs." Two albums followed in 1979 and 1980, A Can of Bees and Underwater Moonlight, both eliciting obvious comparisons to early Pink Floyd and both going largely unnoticed, especially in the United States. Following the group's breakup in January 1981, Armageddon Records released a final LP of half-leftover studio tracks and one side of live tracks. "Chewy globules of freaky pop, this is how the Soft Boys should be remembered," said Melody Maker in its review of Two Halves for the Price of One. Hitchcock released his first solo LP later that year, Black Snake Diamond Pole, and followed it up in 1982 with Groovy Decay. Whatever it was cool to be listening to that year, Robyn Hitchcock wasn't on the list. "I don't hope to be taken any way at all," says Hitchcock, deflecting questions concerning his minimal popularity. "I just write the songs. A bird doesn't justify its nest and I can't justify my songs. But I know they're equally essential. "If the question is, then, do I, therefore, fall asleep in my songs or lay eggs in them, the answer is -- sometimes. If you watch closely you may see." The watch continued for Robyn Hitchcock fans in 1985 with the release of two albums, Fegmania (featuring the almost-hit, "Heaven") and, recorded-live at London's Marquee Club, Gotta Let This Hen Out! The former is a mystical roller-coaster ride, equal parts nonsense and deep truths; the latter, a testament to the disciplined energies of Hitchcock's long-time partners in crime, Morris Windsor on drums, Andy Metcalfe on bass and Roger Jackson on keyboards. "I've done very few sessions or gigs where I haven't had Morris there," Hitchcock says. "Andy's been a large part of it and Roger was around in Cambridge years ago, so it probably is just the fact that you've got a nine-year-old band -- like the Band. We grew up with those kinds of rules. "You go from being fresh to being tight to being tired," he continues. "Fortunately, we've had long and frequent breaks, so if we don't overdo it and aren't forced to do hundreds of tours, we can probably keep going for the next 20 or 30 years, just as musicians." It is a chilling vision, that of Robyn Hitchcock at 60, singing "Kingdom of Love": "Ain't no way I'm gonna be/ Anything I wanna be/ All I want to do is be your creature." Creatures often occupy Hitchcock's lyrics, even beyond the obvious characters covered in such songs as "The Fly," "Insect Mother," "Acid Bird" and the exquisitely hummable "My Wife and My Dead Wife." For example, in "The Cars She Used To Drive," Hitchcock lives in fear of the cars owned by a careful woman who was never involved in an accident. The vehicles, of course, survived to recognize Robyn on the street and run him down. And the deceptively melodic chorus of "Egyptian Cream" includes the lines, "When the change comes/ And the grass grows/ All over her mouth/ The tadpoles come slithering/ Out of the ground." Aren't these unusual topics for pop songs, Robyn? "Maybe so, but that's not my fault," he says. "I would say [that reaction] reflects more on other people than it does on me. To me those songs are totally normal, and indeed, they're the only sort of songs that logically can be written. I'm amazed that people manage to come up with stuff that's not like that. "In a typical day you'll get President Reagan, a bowl of oranges, you go shopping, have your heart broken and twist your ankle. So, you put it all down and out it pops in any order that fits in with the rhyme or meter of the song." Don't try this at home, kids, because astral song writing should be left to professionals. Whether or not Hitchcock is interested in being anyone's mentor in such an endeavor is anyone's guess, including his own. "Well, nobody really wants to listen to a teacher," he says. "A teacher is paid to keep people in sufferance until they can get out of school." Then what is your role, Robyn? Sage? Ascended Master? Guru to the psychedelic misfits of the coming New Millennium? "No, most of my friends don't take me at all seriously," Hitchcock deadpans. "I think generally the vibe on me is that I'm an idiot." -fin- [][][][][][][][][][] Date: Thu, 2 Feb 1995 10:22:39 -0500 (EST) From: Eugene B Mirman Subject: Question for Robyn... To: fegmaniax@ns2.rutgers.edu Reply-To: Eugene B Mirman I'm just catching up on my old mail, and I don't know if it's too late for me to send my question to Robyn. If it's not too late, I was hoping you could ask him, "Why don't you ever call?" -Eugene P.S. Robyn at Amherst College!!!! Anybody else from the list going to be there? DaveR, perhaps? [][][][][][][][][][] Date: Thu, 2 Feb 1995 10:34:13 -0800 (PST) From: Bayard Catron Subject: cd boots/robyn and j cope To: Eve Emshoff Cc: "R. Hitchcock list" Reply-To: Bayard Catron On Thu, 2 Feb 1995, Eve Emshoff wrote: > LIghtbulb Head," and things were never the same. Hey, I'm also a Julian > Cope fan. . .I think there's a similarity there. . . As it happens, these are the only two Englishmen I have heard imitating an American accent-- julian taking the worst of several regional sounds saying "let me in! let me in!" from an unknown source and robyn's scroungy lounge singer doing 'my wife' on the 92 tour. I'm sure there are other similarities. In any case, good to have you on board Eve... chalk up another one for the chicklettes... There are/were lots of female robyn fans advertising in goldmine for trading tapes, and lots here as well I think. perhaps they are just not as rambuncious as the rest of us. I've seen a lot at shows too, thought these could be guests of male fans. In 92 there were a lot of older fans in addition to my fellow collegegoers at GW... almost as many as, I'm told, there were at Billy Bragg... :) So welcome Bill, and any other adults out there (I'm 25; and it's said most fegmaniax are in their 20's or 30's.) Well, I'll cease my rambling by saying that I would like a taped copy of _invisible history_ and the non-concert tracks on _stand back dennis_. I have the info on ordering them in anyone wants it, but I won't buy them myself. Anybody wanna make me a copy? bayard ps. no wonder english folks hate imitations of their acents-- if it sounds as awful as those 'america' accents..... [][][][][][][][][][] Date: Thu, 2 Feb 1995 11:17:10 -0500 (EST) From: Eve Emshoff Subject: Re: cd boots/robyn and j cope To: Bayard Catron Cc: "R. Hitchcock list" Reply-To: Eve Emshoff On Feb 2, Bayard Catron wrote: "as it happens, there are the only two Englishmen I've heard imitating an American accent--" I wonder. . .is it really an "imitation," per se? I've often noticed that when English performers sing, the accent tends to disappear, or at least be much less noticeable. Or are Robyn and Julian really trying to force it? If that's the case, maybe I should pay even closer attention the next time I hear these two. Eve [][][][][][][][][][] From: Anna Wilson Date: Thu, 2 Feb 1995 17:24:01 +0000 To: fegmaniax@ns2.rutgers.edu Subject: robyn's accent Reply-To: Anna Wilson Well, as far as accents go - I don't no whether it's just me, but I think there are some English accents that carry through no matter what (eg the Wurzels, or Billy Bragg) and then there's some people who desperately try to sound cockney no matter where they're from (most punks), and then there's others who don't have much of an accent to start off with. I'd say Robyn belonged to that category. The American accent is definitely sometimes forced. Like that song on Eye (name escapes me) about "my baby and me, we used to ring each other up ..." (am I rambling?) Anyway, to a no-US ear it sounds like an effort ... [][][][][][][][][][] Date: Thu, 2 Feb 1995 13:25:15 -0800 (PST) From: Bayard Catron Subject: Re: robyn's accent To: dark birds Reply-To: Bayard Catron On Thu, 2 Feb 1995, Anna Wilson wrote: > Well, as far as accents go - I don't no whether it's just me, but I think > there are some English accents that carry through no matter what > (eg the Wurzels, or Billy Bragg) and then there's some people who desperately > try to sound cockney no matter where they're from (most punks), and then yeah, even if they're from america. ;| > there's others who don't have much of an accent to start off with. > I'd say Robyn belonged to that category. The American accent is definitely > sometimes forced. Like that song on Eye (name escapes me) about "my baby > and me, we used to ring each other up ..." Anyway, to a non-US ear it > sounds like an effort ... It is rather strange the way he says, "...and we'd get reeel close," I never noticed it before but now that you mention it, I believe he actually says "we used to -call- each other up," which just about clinches it for the going-for-the-american talk theory. Perhaps the "other" in question was an american. I think Linctus House is a sad/bittersweet song but I wouldn't go so far as to call it sarcastic, though it may be slightly pointed in that direction. To my Maryland ears (slightly pointed?) robyn has a fairly pronounced accent when speaking but it does become transparent, or at least opaque, when he sings. I should note that in both of the instances I mentioned about julian and robyn imitating americans they were doing spoken monologues. Robyn did another during that same show, during a technical difficulty ("do it the old fashioned way," he suggested to a roadie, "just plug it into the amp.") in which he told about his experiences in Los Angeles and did a pitch bend of one or two octaves in either direction without the help of modern electronics. You're right though, Anna, Robyn's accent is not as powerful as Billy's-- thick as bricks, I'd say. Fair is fair; I'd welcome any email from British list members with comments about the voices of DC's own, Fugazi. bayard [][][][][][][][][][] From: mrd@world.std.com (Mitchell R Dickerman) Subject: Re: Question for Robyn... To: fegmaniax@ns2.rutgers.edu (Fegmaniax) Date: Thu, 2 Feb 1995 13:44:01 -0500 (EST) Reply-To: mrd@world.std.com (Mitchell R Dickerman) > P.S. Robyn at Amherst College!!!! Anybody else from the list going to be > there? DaveR, perhaps? I'm definitely going. Anyone know if he's also playing Boston? I've seen him at the Iron Horse, UMass's Blue Room, and Pearl St (twice). I guess he likes the area, or just recognizes that the 5 college are has tons of his fans. Mitch [][][][][][][][][][] Date: Thu, 2 Feb 1995 15:27:15 -0500 (EST) From: Eugene B Mirman Subject: A song of Robyn's.... To: fegmaniax@ns2.rutgers.edu Reply-To: Eugene B Mirman I have a bootleg of a show that has this song that I never heard before. All I can remember now is the line, "The Marquis De Sade was just a lonely pervert." Anyone know what this song is? Also, anyone live in the Five College area and want to trade tapes? -Eugene [][][][][][][][][][] Date: Thu, 2 Feb 1995 13:25:15 -0800 (PST) From: Bayard Catron Subject: Re: robyn's accent To: dark birds Reply-To: Bayard Catron On Thu, 2 Feb 1995, Anna Wilson wrote: > Well, as far as accents go - I don't no whether it's just me, but I think > there are some English accents that carry through no matter what > (eg the Wurzels, or Billy Bragg) and then there's some people who desperately > try to sound cockney no matter where they're from (most punks), and then yeah, even if they're from america. ;| > there's others who don't have much of an accent to start off with. > I'd say Robyn belonged to that category. The American accent is definitely > sometimes forced. Like that song on Eye (name escapes me) about "my baby > and me, we used to ring each other up ..." Anyway, to a non-US ear it > sounds like an effort ... It is rather strange the way he says, "...and we'd get reeel close," I never noticed it before but now that you mention it, I believe he actually says "we used to -call- each other up," which just about clinches it for the going-for-the-american talk theory. Perhaps the "other" in question was an american. I think Linctus House is a sad/bittersweet song but I wouldn't go so far as to call it sarcastic, though it may be slightly pointed in that direction. To my Maryland ears (slightly pointed?) robyn has a fairly pronounced accent when speaking but it does become transparent, or at least opaque, when he sings. I should note that in both of the instances I mentioned about julian and robyn imitating americans they were doing spoken monologues. Robyn did another during that same show, during a technical difficulty ("do it the old fashioned way," he suggested to a roadie, "just plug it into the amp.") in which he told about his experiences in Los Angeles and did a pitch bend of one or two octaves in either direction without the help of modern electronics. You're right though, Anna, Robyn's accent is not as powerful as Billy's-- thick as bricks, I'd say. Fair is fair; I'd welcome any email from British list members with comments about the voices of DC's own, Fugazi. bayard [][][][][][][][][][] Date: Fri, 3 Feb 1995 11:16:38 +1300 To: fegmaniax@ns2.rutgers.edu From: james.dignan@stonebow.otago.ac.nz (James Dignan) Subject: Re: chords (was: So you think...) Reply-To: james.dignan@stonebow.otago.ac.nz (James Dignan) >>2nd bridge: (F#m E C#m B, F#m E C#m A F#, A F#, A F#) > >Doesn't this end with runs from A, via Chm7 to F#, and then, on the final >go, to F#7? > >And as for the 'missing chord', I think it's what yer jazzers would call an >Eb/Bb. But thanks for the comments, because I'd given up on Eb as a starting >point. > >I'm still not totally convinced - it could be a six-string Bbdim (6th fret), >but the hell with it - Eb sounds just fine for now :-). I think you're right about the F#7. The C#m7 could be AMaj7, tho. Funny, I was wondering about Gdim7 rather than Eb (which is just an inversion of Bbdim7), so that could be right too... As to Bayard and Richard... what have I let myself in for? :) I'll have a go at some of those songs over the weekend (a long NZ national holiday weekend it is, too). Kindom of Love and Madonna of the Wasps look like handy ones to tackle. I also want to tackle Beatle Dennis, since it's a personal favourite, but it sounds trickier. And (shun me, ban me from the list) some of the songs you mention are ones I don't own copies of, and in one or two cases have never heard! It's not always easy getting Robynstuff in NZ. Time I wrote to Mrs Wafflehead, I think... James James Dignan, Department of Psychology, University of Otago. Ya zhivu v' 50 Norfolk St., St. Clair, Dunedin, New Zealand pixelphone james.dignan@stonebow.otago.ac.nz / steam megaphone NZ 03-455-7807 * You talk to me as if from a distance * and I reply with impressions chosen from another time, time, time, * from another time (Brian Eno) [][][][][][][][][][] Date: Thu, 2 Feb 1995 18:15:00 -0500 From: father bungholio To: fegmaniax@ns2.rutgers.edu Subject: virtual interview, irc Reply-To: father bungholio hey gang, since it seems that i'll probably not be around for most of next week (any fegmaniax in castellon, spain?), i'm extending the deadline for questions for our virtual interview with robyn until saturday the 11th. i've gotten a bunch of questions already but more are welcome. send 'em all to me. bayard and i were babbling offlist and irc came up. i don't venture there too often but occasionally find myself ircing later than i should be awake. since i feel imperial, i decree that the lawful and proper channel for robyn talk on irc should be #fegmaniax - it's distinctive enough for the hitchhead and inexplicable enough to attract grazers. so, if you irc, /who #fegmaniax occasionally to see if any of us are around. woj [][][][][][][][] End of this Fegmaniax Digest. 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