From: owner-fegmaniax-digest@ecto.org To: fegmaniax-digest@ecto.org Reply-To: fegmaniax@ecto.org Errors-To: owner-fegmaniax-digest@ecto.org Subject: Feg Digest V4 #216 Fegmaniax Digest Volume 4 Number 216 Sunday October 27 1996 To post, send mail to fegmaniax@ecto.org To unsubscribe, send mail to majordomo@ecto.org with the words "unsubscribe fegmaniax-digest" in the message body. Send comments, etc. to the listowner at owner-fegmaniax@ecto.org FegMANIAX! Web Page: http://remus.rutgers.edu/~woj/fegmaniax/index.html Archives are available at ftp://www.ecto.org/pub/lists/fegmaniax/ ---------------------------------------------------------------------------- Today's Topics: ------- ------- Another linkage Playing the game RH -> Midnight Oil Info pleeze!! Goldmine VII Goldmine VIII Re: Info pleeze!! RH/BB - MTL. Set list + re: Goldmine VII RE: RH/BB - MTL. Set list + Re: RH/BB - MTL. Set list + Goldmine IX (of IX) Y & O lyrics re: Y & O lyrics Blace lace thighs outside the halls of justice comtinuation of disrupted black lace, leaving threads dangling. Re: Y & O lyrics Re: Y & O lyrics To avoid duplication of effort ... Re: Blace lace thighs outsid The Polls Are Open Re: OFF: The Game - odd Linkages Jasper, This One's Evil (warning, no RH content) Re: Circle Jerks & Debbie Gibson Wanna Destroy You Moss Elixer slept right through it... Tribune Article Winter Love (tab) Sweet Ghost of Light (crd) help! greetings from montreal! another f#@#$%@#$^g link Re: comtinuation of disrupted black lace, leaving threads dangling. ------------------------------ From: HAMISH_SIMPSON@HP-UnitedKingdom-om4.om.hp.com Date: Fri, 25 Oct 96 12:19:36 +0100 Subject: Another linkage Item Subject: cc:Mail Text How bizarre, RH -> Andy/Morris Andy/Morris -> Vic Reeves Vic Reeves -> Wonderstuff Wonderstuff -> Kirsty MacColl Kirsty MacColl -> JJ Burnel/Dave Greenfield (Purple Helmets) JJ Burnel/Dave Greenfield -> George Melly (Stranglers "Old Codger") I nearly went K MacColl -> B Bragg but that was only for a cover. ------------------------------ Date: Fri, 25 Oct 1996 08:34:38 +0500 From: Ken Frankel Subject: Playing the game Is there a link between Robyn and Richard Thompson? Did Thompson ever play with the Golden Palominos? Then there would be a link via Stipe. If there is, then you could link Robyn to everyone from Nick Drake and Sandy Denny to Led Zep and Pere Ubu (I think?) Ken ------------------------------ Date: Fri, 25 Oct 1996 09:03:46 -0400 From: Scott Hunter McCleary Subject: RH -> Midnight Oil Since a lister mentioned a while ago he's met Peter et al someplace (and since I've got their new album on right now), let's connect Robin to the Oils. RH & various members of the Screaming Blue Messiahs Screaming Blue Messiahs & Scream in Blue (both a song title and the title of the Oils' live compilation) Darn, that was either too easy or I'm not doing it right. Regards, Scott Scott Hunter McCleary Director/Internal Relations & Special Projects The National Association of Life Underwriters 1922 F Street, NW Washington, DC 20006 http://prodigaldog.ppages.com -- coming Nov. 1 ------------------------------ Date: Fri, 25 Oct 1996 09:18:03 -0400 From: Alex Tanter Subject: Info pleeze!! While lots of people have been using tons of bandwidth playing games, :-), wasn't there an RH/BB show somewhere in the delightful country of Canada???? Why is there no feg feedback..???? Please tell us, anyone who was there! Did no one go? Marcy ------------------------------ Date: Fri, 25 Oct 1996 09:47:51 -0400 (EDT) From: "`!'" Subject: Goldmine VII ...acknowledges that _You and Oblivion_ might have shared the same fate. Cox dubbed the sessions onto a cassette, recalls Hitchcock, "but the tape broke, and I forgot it until I was visiting Chris (Cox) again, in 1994, and I came across three reel of these tapes." He played them and was surprised at just how fresh they all sounded. "What I like about (the album) is, it was all recorded very fast, there was no time for anyone to go overboard." Rhino's reissue campaign was already in the planning stages; it was easy for Hitchcock to slip this latest archive find into the program. "I think there's a big argument for having two forms of record released. One would be a sort of subscription; if your were a Robyn Hitchcock subscriber, you'd get the Robyn Hitchcock outtakes. You'd probably need a five-year embargo, because it's dangerous to let people get stuff too soon, in case it turns up on another album, but if something hasn't been recorded after five years, it's never going to happen. So if you were a hardcore subscriber you could get all this stuff and if you were a regulation, standard-issue human, you'd just buy the proper record." At the same time, however, he remarks "I've probably put out too many records and _You and Oblivion_ is the climax of this. I handed over tapes of 30 songs and they put 22 songs on the record. No one wants to listen to all that in one sitting! Even I only go to the end of side one before I had a headache. I think you have to look on that as a kind of reference record. In other words, I've put out a lot of this stuff -- A: because it's there and B: because people buy it. But C: on the other hand, I don't think it's an artistically brilliant maneuver." The initial loss of the Cox sessions was caused, in part, by Hitchcock and the Egyptians' decision to sign a major label deal with A&M in 1988. The group's popularity on the American college circuit had been growing for some time, and for A&M, their recruitment finally signaled the label's acknowledgment of the fast-exploding grassroots alternative scene, as highlighted by the Smiths, R.E.M., Billy Bragg, the Replacements and so on. "I think we were the last of the independent bands which were still independent," Hitchcock laughs. "So they had to sign us." Among Hitchcock's own hardcore following, the general consensus is that the four albums he and the Egyptians recorded for A&M: _Globe of Frogs_ (1988), _Queen Elvis_ (1989), _Perspex Island_ (1991) and _Respect_ (1992), are uniformly disappointing, characterized only by a handful of songs and a few more legendary curios -- the "Dark Green Energy" B-side recorded with Peter Buck during the _Perspex Island_ sessions; a scarce seven-track A&M live promo, _Live Death_; and a crop of videos which were tailor-made for the MTV audience's vision of this eccentric Englishman, but which leave Hitchcock himself cold. He had already paddled tentatively in the video world, via a clutch of Super 8 videos shot with director Tony Moon. "But then corporate rock struck and A&M said 'We'd like you to make videos on 16mm and sync your voice up, and mime to this.' But I'd never mimed to anything in my life, mainly because we couldn't afford it. So I turned round and said 'I don't see why I should,' and we had this great long legal wrangle about how many things I had to mime to." -- oh,no!! you've just read mail from doug -- dmayowel@access.digex.net a.k.a. dougmhyphw@aol.com -- get yr recently updated pathos at http://www.mwmw.com/pathetic/ ------------------------------ Date: Fri, 25 Oct 1996 09:51:28 -0400 (EDT) From: "`!'" Subject: Goldmine VIII "We made three or four videos for A&M, and it was a bit depressing because they weren't nearly as good as the home-made ones which we made with bits of string ("Raymond Chandler Evening") and out-of-sync vocals. Basically, I felt the more money that went into the video, the less it showed what we were about. I think we got very good stuff on 8mm -- it wasn't expensive, but it didn't make us look cheap. I think we looked and sounded cheaper the more money that was spent on us." This same theory is borne out by the success of the Egyptians' visits to the BBC Radio studios, where four or more strong sessions would be knocked out as quickly as possible and then broadcast to the nation before anyone could get cold feet. Without exception, they offer vast improvements on their studio counterparts. Indeed, Feb. 2, 1988, Andy Kershaw broadcast one of the best-ever Egyptians sessions, comprising "Tropical Fish Mandala," [sic!] "Sleeping With Your Devil Mask," "Chinese Bones" (tracks from the _Globe of Frogs_ album), and a surprise look back at "Listening to the Higsons." Almost exactly one year later, Feb. 9, 1989, awaiting the release of _Queen Elvis_, the band returned to the BBC to create vicious versions of "Madonna of the Wasps," "Superman," "Veins of the Queen" and "One Long Pair of Eyes." Once again, anybody disappointed by the attendant album should lend an ear to these impassioned performances. Although the Egyptians continued to occupy most of his time, Hitchcock was not allowing his extracurricular ambitions to lay [sic] fallow. He joined Peter Buck and Nigel Cross to contribute a version of "Wild Mountain Thyme" to a passing Byrds tribute album, but more importantly, was also spending a great deal of time in San Francisco, largely for personal reasons (the birth and subsequent death of a relationship), but also to record the solo material which would, in 1990, become the _Eye_ album. To fans disappointed by the A&M records, this particular disc remains the one oasis of sanity in Hitchcock's recent repertoire. _Eye_ was released through the Twintone indie, after A&M politely passed on it. "They told me they'd be willing to release half of it," Hitchcock recalls. "But they also said I could take it else where if I wanted to -- so I did." After the poor critical response to its predecessors, it was interesting to note that _Eye_ received almost unanimously good reviews; indeed among the many plaudits the album has received over the years, the _Trouser Press Record Guide_ perhaps summed up the general mood with the observation, "as if to underscore the improvement, 'Queen Elvis' [on _Eye_] is easily superior to anything on the LP with which it shares only a title." Buoyed both by great reviews and Twintone's light-hearted approach to promotion, a solo Hitchcock toured heavily across the United States in support of _Eye_. Unfortunately, his return to the bosom of A&M soon brought him back to reality. "I received a fax from the label which basically said, if we wanted to continue our association, our next album had to be properly produced -- which was the complete opposite of what we'd been signed to do." In 1988 the Egyptians had been recruited for their ability to sound unlike a mainstream act. By 1990, however, the mainstream was king once again and the Egyptians had to fall into line. Hitchcock contacted producer Paul Fox and the pair decamped to Athens, Ga., to begin the demoing process. "I started demoing with Paul and Peter [Buck] at Peter's house in very late 1990. He had a recording studio conveniently located about 400 yards from his front door, I don't know whether he got there first or the studio got there first, but was John Keene's place, the studio which the R.E.M. circus all use. SO we did the initial recordings there to try out Paul Fox, and at the same time, I was talking to Andy and Morris about whether we were going to do this thing together. In the end we decide we would, so we went out to L.A., and spent a lot of time and money. The original recordings with Paul and Peter were a lot quicker, just a drum machine and two guitars, and some of them are really good." They also remain under lock and key. _Perspex Island_, meanwhile, was released in October 1991 and, bolstered by the much-played "So You Think You're In Love," swiftly raced to the top of the American alternative charts. For a moment, it seemed as though A&M's insistence on a "proper" producer had not been so misguided after all. But only for a moment. Barely had _Perspex Island_ reached the top than the entire music scene underwent one of its sudden, periodic shudders and the whole thing came tumbling down again. Like so much more of the music which had seeped into the 1990s from the decade before, the Egyptians' commercial high point was about to fall victim to the market's changing tastes. "It's very significant that _Perspex Island_ was knocked off the top of the alternative charts by Nirvana," Hitchcock explains. "I think other people who came through at the same time as us had all moved up a notch, to different planes -- people like 10,000 Maniacs and R.E.M. and to a lesser extent the Replacements. But everyone else was just there to be scattered, and that included us. We were still there as an alternative act, but it had altered, it all became 'rock' again, people were allowed to have long hair and punch the air again, buy pretzels and shout 'Way to go.' "It had changed, and there wasn't really a place for what we did any more. Our stuff was far to musicianly and middle-aged, and I'd put that down to the combination of the three of us. Andy and Morris both suffer from terminal good taste, which is something I don't have, and left to myself, my stuff's a little bit rougher and probably still fits in reasonably well with the part of the market we've always had." But _Perspex Island_ was very much a group effort, and in the fierce glare of _Nevermind_'s sonic fall-out, Hitchcock is right. It simply didn't fit in anymore. Live performances form this period, of course, prove that in the right environment, the Egyptians were still a great rock'n'roll band. 1992's _Live Death_ promo, for instance, features excellent versions of "My Wife and my Dead Wife" and "Withered and Died," [sic] plus a surreal take on the Beatles' "A Day in the Life." There is also a limited-edition live album which was made available through Hitchcock's London office, punningly titled _Give it to the Thoth Boys_ (Thoth, of course, is an ancient Egyptian god.) "That has yet another version of the 'Dead Wife' on it," Hitchcock enthuses. "'I'm Only You' s on there, 'Glass Hotel,' there's a good version of 'Egyptian Cream.' It's a good album." Things were still healthy on the live front then, and it was in an attempt to transfer that healthiness to a studio environment that Hitchcock and the Egyptians recorded what must be one of the most anarchic sessions ever broadcast by the BBC, in January 1992. Hitchcock was living just around the corner from Andy Kershaw in north London's Crouch End district at the time and had become a regular visitor to the disc jockey's house. "He always thought my kitchen was a good place to play," Kershaw reflected, and when the time came to tape a new session, that is where it was done. "That's the best stuff we ever did," Hitchcock raves. "It really was live in his kitchen, it was mixed by our soundman who's Finnish, and there were about 20 people in the other room drinking wine and coffee and they'd just hold their glasses still for three minutes while we did a take, then we'd do another one." With Windsor playing a coke tin and an egg shaker, and Hitchcock and Metcalfe on acoustic guitar and bass, a total of seven tracks were recorded: "Oceanside," "So You Think You're In Love," "Open The Door Richard," [sic] "Birds in Perspex," "Arms of Love," a reprise of "Kung Fu Fighting," and even "The Banana Boat Song." Looking back across the album which was subsequently culled from a decade's worth of Kershaw sessions, Hitchcock is adamant, "I think the best testament of the Egyptians is that album, because nobody had time to get uptight about anything and finish it off. And that least session, I think, is the real heart of the Egyptians." With so much positive energy going into the pre-production stage, then, the Egyptians fourth A&M album, _Respect_, should have been a killer. Instead, even Hitchcock finds it difficult to look back upon it with much affection. The original plan, he recalls, was to record the album in the same spirit as that final Kershaw session. "I meant it to be recorded by sticking a mike in a bowl of fruit, a binaural mike around a pineapple, and have the three of us play the way we did in radio stations, just basic acoustic coke tin with three-part harmonies. But because we had a 24-track mobile outside, it just got out of control very quickly. "There were two cliches at that stage, there was grunge and there was unplugged. The young bucks were all grunge and the older dudes were unplugged and R.E.M. were able to go from one to the other in reverse order which was nice. So I thought, 'let's try to steer a middle course.' Unfortunately, there was no room for that. "_Respect_ was meant to be like _Let It Be_, no overdubs, just the interaction between three musicians who'd been playing together far too long, doing it one more time. I always wanted to have a document of the way we played live because I thought it was far stronger than the records we made, but we just treated the house as a recording studio, which wasn't nearly as exciting. It was the best thing collectively that we could do, but it was far too tasty." Hitchcock is surprisingly matter-of-fact about the decline of the Egyptians from one of rock's most excitingly anarchic acts to -- as he himself put it, three musicians who'd been playing together far too long. "Listening back, you can see what was going wrong. 'Balloon Man' and things were fine, we sounded independent and someone was singing it, you could hear my voice up there. But stuff on _Perspex Island_ and _Respect_, I'm just buried in the music. -- oh,no!! you've just read mail from doug -- dmayowel@access.digex.net a.k.a. dougmhyphw@aol.com -- get yr recently updated pathos at http://www.mwmw.com/pathetic/ ------------------------------ Date: Fri, 25 Oct 1996 14:55:16 +0100 (BST) From: M R Godwin Subject: Re: Info pleeze!! I suppose we're playing games while we wait for something to happen... Have ANY of these RH/WB shows actually taken place? (not that it matters to me, I'm in the UK). I get the impression that there could be some kind of hitch... - Mike Godwin ------------------------------ From: Ross Overbury Date: Fri, 25 Oct 96 10:37:36 EDT Subject: RH/BB - MTL. Set list + Here's what happened last night: I enter the club wearing the word "toast!" on my arm, since club rules forbid the wearing of actual toast. Robyn picks up an acoustic guitar I can't identify because I'm sitting behind his left shoulder. He's wearing what appears in the dim light to be a billowy silk shirt with a small pattern. His face is eclipsed by the shadow of the microphone, which cuts a neat arc from his nose to his chin whenever he sings. He introduces the next song in somewhat awkward French. Devil's Radio Chinese Bones The Wind Cries Mary (features harmonica) Robyn finally breaks into English. He says something like "This song is about one of those years you can't seem to shake off" 1974 (Is this one new? I don't know it. References to Barrett, Bowie, Nixon, Monty Python) Deni Bonet walks on. RH says plays a Dm, and says "This is (in?) D Minor." De Chirico Street. RH struggles to explain in French the properties of Egyptian Cream. Egyptian Cream At this point the BB fans in front of me are rocking about in their seats. A Happy Bird is a Filthy Bird Deni Bonet walks off Glass Hotel (played with a chorus pedal) "Mesdames et Messieurs, le Fender Telecaster" I am Not Me Robyn detunes to double drop D You and Oblivion I think Robyn retunes here. Queen of Eyes (it's Mucky, no doubt about it) Freeze Polite applause. No encore. Quoth the BB fan next to me -- "He's pretty different, isn't he?" We now return you to the present tense. BB took the stage about 20 minutes or so later, also playing a solo guitar set. The two are well matched. BB's music, with which I was completely unfamiliar, is quite a bit more straightforward. He delivered a strong set. Unlike RH, BB made no attempt to speak to the audience in French, and unlike RH, he often spoke for a few minutes at a time between songs. He was a bit preachy at times, at one point getting into a dialogue with an audience member over the merits of union activism vs community activism. The usual stomping and clapping followed the set, which resulted in the usual 2 encores. There was no Robyn/Billy duet. I exited the club wearing the word "toast!" on my arm. This was my first time seeing RH live. He was in good voice; I've heard more pitch trouble on some of his recordings than I heard last night. He seemed to play most of his chords beyond the 3rd fret, but I was only able to see the back of his hand -- no fingers. Sorry, tabbers. -- Ross Overbury Montreal, Quebec, Canada email: rosso@cn.ca ------------------------------ Date: Fri, 25 Oct 1996 10:46:45 -0500 From: "Gene Hopstetter, Jr." Subject: re: Goldmine VII oh,no!! doug posted: >"I think there's a big argument for having two forms of record released. One >would be a sort of subscription; if you were a Robyn Hitchcock subscriber, >you'd get the Robyn Hitchcock outtakes. >So if you were a hardcore subscriber you could get all this >stuff and if you were a regulation, standard-issue human, you'd just buy >the proper record." As a "hardcore subscriber" I like the idea of a Robyn Hitchcock subscription service. Maybe we should suggest this to Mrs. Wafflehead, no? The "The Prawn of the Month Club" perhaps? Sorta like SubPop's Singles Club. Never thought I'd be so glad to be considered a "standard-issue human" either. >I handed over tapes of 30 songs and they put 22 songs on the record. No one >wants to listen to all that in one sitting! Even I only go to the end of >side one before I had a headache. Ack! Where are the other eight! Must have the other eight! But het, *I* want to listen to them all in one sitting. Sheesh, Uncle Bobby, give us some credit, willya? +++++++++++++++++ + Gene Hopstetter, Jr. + "Guilt is magic." -- James Dickey +++++++++++++++++ ------------------------------ From: firstcat@lsli.com Date: Fri, 25 Oct 96 09:56:38 Subject: RE: RH/BB - MTL. Set list + --- On Fri, 25 Oct 96 10:37:36 EDT Ross Overbury wrote: >1974 (Is this one new? I don't know it. References to Barrett, Bowie, > Nixon, Monty Python) WOW is Robyn a Pumpkins fan? What a great cover! Whodda thunk it? ...alright nevermind...[slouching back to work] Jay ------------------------------------- Jay Lyall Channel Sales Director Livermore Software Laboratories, Intl. 2825 Wilcrest, Suite 160 Houston, Texas 77042-3358 1-713-974-3274 jay@lsli.com Date: 10/25/96 "I'm not a vegetarian because I love animals; I'm a vegetarian because I hate plants." --A. Whitney Brown ------------------------------------- ------------------------------ Date: Fri, 25 Oct 1996 16:01:22 +0100 (BST) From: M R Godwin Subject: Re: RH/BB - MTL. Set list + Hi Ross The words to '1974' appear in woj's main fegsite on the 'Isle of Wight' page. Glad you liked the show. Are you in a Francophone area, or was RH just being difficult? - Mike Godwin ------------------------------ Date: Fri, 25 Oct 1996 11:54:07 -0400 (EDT) From: "`!'" Subject: Goldmine IX (of IX) "I know what we were trying to do, but it was a very collective thing. I sort of submerged myself in with the band, literally to the point that my vocals were mixed far too low. I took a lot of my personality out of those records. I'd been listening to a lot of Bryan Ferry, Eno a bit, that entranced you, or made you want to buy clothes and get a new haircut and although I finally realized it wasn't for me, quite a few fans realized it earlier. "I think _Respect_ was a rather exhausted record in a way. My father had died and I'd had a little upheaval in various ways and we'd done a lot of touring. I think it was a real end-of-an-era album." Neither were matters helped by Hitchcock's increasing problem with losing his voice. "One of the reasons we took the whole thing down in volume, got rid of the drum kit, was so I could hear myself. And after 20 years, I feel I'm entitled to hear what I'm doing." The Egyptians finally broke up shortly after the _Respect_ tour finished. "Everyone was over 40," Hitchcock explains, "and it was time to untie the handkerchiefs which bound our legs together and it was time for us all to be on our own, rather than in an aging mob of boys." Talking of the split at the time, Hitchcock sounded very enthusiastic about the future, and yet four years would elapse before Hitchcock's audience discovered exactly what he meant. [because he never toured, and we never go to shows anyway -- helpful doug] Although the period was highlighted in America by a burst of promotional activity surrounding the Rhino reissues, and in Britain by the appearance of the previously unreleased "Statue With a Walkman" on an otherwise fairly pedestrian eponymous "Best Of" collection, Hitchcock broke cover just once, for a one-off single of "Man With a Woman's Shadow," [yeah, whatever -- doug] recorded for the Olympia, Wash.-based K label in 1995. And people thought he went quiet in the early 1980s! "When the A&M contract finished, I wasn't in a big hurry to get a new one. I knew I'd have to sooner or later, but I wasn't rushing around the companies. Indeed, I wouldn't have had much to rush around the companies with. "I write quickly, but I wanted to produce a record that was the best possible songs I could get and rather than spending money and time on recording it, I wanted to spend time on writing the songs, recording them, and then leaving them for six months to see if they were any good. Basically, if I was anywhere for a period of time, I'd do a bit more recording, then think about it for a few months. I did something in Seattle, for instance, then went back and overdubbed it a year later." Of the new songs he had accumulated following the _Respect_ tour, just two would survive through this period -- "the casualty rate was really high." The wait appears to have been worth it, though. _Mose Elixir_ has already attracted some of the finest notices Hitchcock has received since the heyday of _Hen_, while it also threatening to dispatch collectors into the same kind of whirling anguish they haven't experienced in a decade, as _Mose Elixir_ arrives on the shelves accompanied by a limited-edition vinyl version, the characteristically confusingly titled _Mossy Liquor_. Comprising alternate versions of six of _Mose Elixir_ 's 12 tracks, together with six more songs which are unavailable elsewhere, _Mossy Liquor_ apparently exists purely to confound people. _Mose Elixir_, Hitchcock insists, is "the one you put on your self as the new Robyn Hitchcock album. _Mossy Liquor_ is the one you file away and never play again. "It came about originally because I wanted to have some vinyl out. At first, we were going to just put out _Mose Elixir_ with a couple of different tracks, but that's a real rip-off, so we thought 'let's make it totally different, and if someone buys it who doesn't have a record player, they should find someone who does and tape it.'" In any case, it should not be compared to the similarly structured _Groovy Decay_/_Gravy Decoy_ coupling. Hitchcock is adamant about that. "This time I like both albums." He doesn't even need to add that like those other albums of which he is fondest, _Black Snake Diamond Role_, _I Often Dream of Trains_ and _Eye_, this is primarily because he was able to do everything himself. Some people, it seems, really aren't cut out for life in a band. And the older they grow, the truer that is. "The thing is, if you're playing with a band, you should either really rock, or not at all, and I hate tasteful, middle-aged bass-drums-organ and all that stuff. "I think taste and rock'n'roll are incompatible and if I ever actually go out with a rock band again, I'll make sure that the thing is reasonably...it won't be the New York Dolls, but it will be reasonably rough. It can't be too thoughtful and if you're producing material that is thoughtful or slow or mellow or whatever, it's much better than you do it on your own or with a harmony." With a full band, English outfit Homer, featured on just three tracks, that, he concedes, is "sort of the spirit" of _Mose Elixir_. "Its not Julie Andrews running down the hillside filling her lungs with good oxygen and saying 'sing my little budgerigar,'" he smiles. "But it's got more life in it than anything I've done in a long time." -- oh,no!! you've just read mail from doug -- dmayowel@access.digex.net a.k.a. dougmhyphw@aol.com -- get yr recently updated pathos at http://www.mwmw.com/pathetic/ ------------------------------ Date: Fri, 25 Oct 96 09:22:00 -0800 From: Russ Reynolds Subject: Y & O lyrics Aidan suggested: >You left your radio on >With berries all over it >When all the music was gone >You were in mover bit (?) thanks for bringing this up. I sometimes think this is: You left your radio on with FAIRIES all over it (a much funnier line) when all the music was gone you were in MOEV a bit (isn't/wasn't there a band called the Moev?) anyone else hear it this way? -russ ------------------------------ Date: Fri, 25 Oct 1996 13:06:58 -0500 From: "Gene Hopstetter, Jr." Subject: re: Y & O lyrics russ asked: >Aidan suggested: > >>You left your radio on >>With berries all over it >>When all the music was gone >>You were in mover bit (?) I've always heard it as "You were in loave with it", like Robyn's saying "love" with an unnecessarily long "o". I agree with the berries bit, tho. >thanks for bringing this up. I sometimes think this is: > >You left your radio on >with FAIRIES all over it (a much funnier line) >when all the music was gone >you were in MOEV a bit (isn't/wasn't there a band called the Moev?) Yup, MOEV was one of Nettwerk record's bands. ObTrivia: it was pronounced as one syllable, like "mauve" with a long "O" (mouve?), not "moe-ev". __________________________________________________ Gene Hopstetter, Jr. +++ Internet Publishing Specialist E-DOC +++ http://journals.at-home.com/ Voice: (410) 691-6265 +++ Fax: (410) 684-2788 ------------------------------ Date: Fri, 25 Oct 1996 13:23:17 -0400 From: LORDK@library.phila.gov CC: LORDK@library.phila.gov Subject: Blace lace thighs outside the halls of justice Well, my boss and me are going head to head in a few hours-- its called "a hearing"--so let me collapse into fantsy land for a few brief moments first(sorta like the guy in Brazil, you know, the dentist will see you now) Perhaps thisleg-off wouldnt be complete without a show from the man himself. Has anyone ever seen him in shorts? short shorts? bathing trucks? Are there naked pictures of him at some web sight? He is wonderfully long limbed. Doe he run? What sort of sports did he play at school, and what was the uniform? are there any yearbook pics anywhere? ------------------------------ Date: Fri, 25 Oct 1996 13:40:32 -0400 From: LORDK@library.phila.gov CC: LORDK@library.phila.gov Subject: comtinuation of disrupted black lace, leaving threads dangling. It seems to me for a proper leg off--Robyn should be enticed intothigh highs? Would he shave his legs, or would that just enhance the black lace angle. Susan, would that I was half as wonderful as I am in my own mind. You heard \Marc Allens comment--Sweet!!!!--Innocent!!!!! Not hot babe,not femme et all, just sweet and innocent. Grrrrrrr. Well-since weve at least established that Im a blonde and youre auborn, may I enquire if Eves a blackie? If so, This would make us an enticing trio of graces. And who says we'd have to take turns? Hes got arms, hes got legs----and possibly a few other appendages and orifices which could be put into sighmotaneous uses. Tommorrow, Ill disnown having had anything to do with any of this topic, but for now---its diverting me from reality--so thank youall for existing in cyberspace, and not the dreadful here and now. K ------------------------------ Date: Fri, 25 Oct 1996 12:47:03 -0500 (CDT) From: Truman Peyote Subject: Re: Y & O lyrics On Fri, 25 Oct 1996, Russ Reynolds wrote: > Aidan suggested: > > >You left your radio on > >With berries all over it > >When all the music was gone > >You were in mover bit (?) > > thanks for bringing this up. I sometimes think this is: > > You left your radio on > with FAIRIES all over it (a much funnier line) I'll agree with Aidan- it sounds like berries to me. > when all the music was gone > you were in MOEV a bit (isn't/wasn't there a band called the Moev?) I hear "mauve", but that's probably because I'm female and I'm used to tshirts and sweaters and things coming in "mauve" and "taupe" and "periwinkle" rather than, say, the more prosaic "blue" or "brown" :) :). Susan home with a minor-league chest infection and very, very bored. wish there were more game installments, today I actually have time for them :). ------------------------------ From: Terrence M Marks Date: Fri, 25 Oct 1996 14:15:19 -0400 (EDT) Subject: Re: Y & O lyrics > thanks for bringing this up. I sometimes think this is: > > You left your radio on > with FAIRIES all over it (a much funnier line) > when all the music was gone > you were in MOEV a bit (isn't/wasn't there a band called the Moev?) > > anyone else hear it this way? -russ I say it's berries, not fairies, and... "you were in mauve a bit"... Terry "The Human Mellotron" Marks Second Student in the Tendo Kasumi School of Philosophy -Seeking enlightenment through normalcy. normal@grove.ufl.edu ------------------------------ Date: Sun, 27 Oct 1996 12:23:26 -0500 (EST) From: Tracy Aileen Copeland Subject: To avoid duplication of effort ... ... I've written up a transcript of the Hitchcock interview on NPR this morning, but may not get it typed up before I have to leave for the evening. I'm afraid, though, that Hitchcock's initial account of Brian Eno's presentation in the school basement was halfway cut off on my tape. If anyone has this part and can mail me the text, I'll incorporate it in the full post with complete credit and my abject appreciation. Tracy "from the land of toast and honey" Copeland toast@indy.net ------------------------------ Date: 25 Oct 1996 14:46:43 -0400 From: "Wayne Grgurich" Subject: Re: Blace lace thighs outsid Reply to: RE>Blace lace thighs outside the halls of justice K said . . . >Has anyone ever seen (Robyn) in shorts? short shorts? >bathing trucks? Are there naked pictures of him at some web >sight? He is wonderfully long limbed. -------------------------------------- No, but the first time I met th' man, at the South Hills Theater (Pittsburgh suburb) in 1989, I witnessed him peeing in the backstage john. Does this qualify ? Also, earlier that eve when I initially met him, I was struck by the kinda cool fact that we were virtually the exact same height and weight (I, uh, put on a few lbs. since then). And I've got fabulous lookin' legs, so perhaps we can extrapolate then that Unca Bobby does as well ! I suspect that, like me, he's not much of an athlete; lots of us musically-inclined types avoided hangin' with the jocks. Also, most runners aren't smokers, and Robyn smokes. Lookin' forward to the leg-off, - Wayne ------------------------------ Date: Fri, 25 Oct 1996 22:48:07 -0700 From: rgodfrey@swlink.net (Ryan Godfrey) Subject: The Polls Are Open I got a lot of favorable responses to the idea of a "favorite artists other than Robyn" poll. Thanks to those of you who had suggestions on how it should be run. I think I've ended up using most of them. There are actually going to be two polls simultaneously (thanks, Tom). One is WHAT'S CURRENTLY COOL. The other is ALL-TIME GREATS. This should give us one fluid, mildly exotic list and one (I'm guessing) relatively consistent and homogeneous list. The same artists can be used on both lists, and if you like you can submit the same slate for both polls. Note that bands you currently think are crazysexycool do not necessarily have to be new, nor do all-time greats have to be bewhiskered codgers. Guidelines: 1. You may submit *up to* 10 bands/artists for each poll. 2. Robyn/Soft Boys/Egyptians are not eligible for consideration, since we can fairly safely say they'd stomp all over the competition. All we are saying, is give 'P' a chance. :-) 3. The default ranking is 10 points for the most favorite, 9 for the second most, 8 for the third most, etc. 4. At your option, those 55 points (10+9+8+...+2+1) can be divided among your list of bands as you please, as long as no single band receives more than 10 points. You can list fewer than 10 bands if you wish. Example: CURRENT LISTENS Dexys Midnight Runners: 10 Free: 10 Adrian Zmed: 9 Menudo: 8 The Oak Ridge Boys: 7 Culture Club: 5 Michael Bolton: 5 Tiny Tim: 1 Total = 55 ALL-TIMERS Iron Butterfly: 10 Kid 'n' Play: 10 Rexy Stardust: 10 Samantha Fox: 9 Slash's Snake Pit: 8 Skaface: 5 GWAR: 2 P: 1 Total = 55 5. Positive integers only, por favor. 6. There is NO rule number 6. 7. Several people requested that ballots not be posted to the list, but emailed directly to me. Please respect their wishes and keep their in-boxes relatively tidy. I will probably make available the entire response base after the results are announced for those wishing to find what a specific person was listening to. 8. If you are submitting two separate lists for current listens and classics, include them together in one email to me, rather than two separate ones. 9. The polls will run from now until Ross Perot is mathematically eliminated from winning the U.S. presidential electoral college on Tuesday, November 5, approximately 7:05 PM Eastern Standard Time. Questions? Email me at rgodfrey@swlink.net Vote early and often, but only vote once. --Ryan "poll my finger" Godfrey rgodfrey@swlink.net ------------------------------ From: A one-celled Hammond organism Subject: Re: OFF: The Game - odd Linkages Date: Fri, 25 Oct 1996 23:17:37 -0700 At 19:04 24.10.96 -0400, TheQuail@cthulhu.microserve.com wrote: >Link Nine Inch Nails to Amy Grant NIN -> Adrian Belew Belew -> Pat Mastaletto (sp?) (both are in the present King Crimson line-up) Pat -> Richard Page (both were members of Mr. Mister) Page -> Amy Grant (he sang backup on _Hearts In Motion_) Q.E.D. Doing this, one can also link both Amy Grant and Nine Inch Nails to Robyn through Pat Mastaletto. I mentioned that I had learned this as "The Kevin Bacon Game". I saw New Zealand James link Charlton Heston to Robyn and I thought I would try to link Kevin Bacon to Robyn. Here is what I came up with: Kevin Bacon -> Dennis Quaid -> Ringo Starr -> Paul McCartney -> Elvis Costello -> Glenn Tillbrook -> Robyn That's 6. Can anyone do it in fewer steps? So long, --g ______________________________________________ "I'm into you so far, I'm out the other side." --Robyn Hitchcock ______________________________________________ Glen Uber glen@metro.net http://metro.net/glen/ ------------------------------ Date: Sat, 26 Oct 1996 03:49:23 -0500 (CDT) From: Truman Peyote Subject: Jasper, This One's Evil (warning, no RH content) In the time (since about a year and half ago) that I have been on this list, I have enjoyed it beyond measure, and met many wonderful people. This is why it grieves me to announce (just in case you care :)) that I am leaving the list. Most likely this leave will be temporary. But at the moment it is just too painful for me to be here. This has nothing to do with any recent threads or postings or any list members specifically (except one), but I just can't join in the fun the way I used to. I just haven't the heart for it- being dead inside does that to you :). Anyone who wants to correspond with me privately is more than welcome to do so (note my email address above, if you don't already have it). I'd like that a lot, actually. Susan ------------------------------ Subject: Re: Circle Jerks & Debbie Gibson Wanna Destroy You Date: Fri, 25 Oct 96 16:38:14 +0100 From: Tom Clark >On Wed, 23 Oct 1996, Tom Clark wrote: > >> >"Destroy You". It was slowed down but sounded pretty good-- it was >> >rillyweird, though, to see these aged SoCal punk dudes playing it, >especially >> >the dreadlocked Morris who stomped around the stage like a true "Rawk Star", >> >pointing ominously at the crowd every time the "you" in the chorus came up. >> >> 10 points for explaining this reference: >> "I can't believe I used to like these guys..." >> > >I can't hear you, Tom, I'm using a scrambler. But I must warn you- >DO NOT OPEN THE TRUNK! :) :) > >Susan > Susan wins the Plate O' Shrimp. -tc ------------------------------ From: Terrence M Marks Date: Sun, 27 Oct 1996 14:31:03 -0500 (EST) Subject: Moss Elixer After several listens...I'd have to say that Moss Elixer *is* a good album. I'd put it up there with EoL, personally [sorry for the vapid message...it's just that I haven't rec'd mail from this list for a few days, and I'm getting nervous] Terry "The Human Mellotron" Marks Second Student in the Tendo Kasumi School of Philosophy -Seeking enlightenment through normalcy. normal@grove.ufl.edu ------------------------------ Date: Sun, 27 Oct 1996 10:34:46 -0800 (PST) From: "Dot, the Itchy God." Subject: slept right through it... hey all--- i did indeed sleep through m. hitchcock on npr, even with daylight savings time. was there anything of interest, or mere comparisons to barrett? if there was any robyn speaking, would some one mind transcribing it or a summary? i did catch the 'it came from outer space' segment and was very disappointed with the presentation given the possibilities of the genre. oh, well, npr has a strong tendency to be way of the mark with much of its music commentary. over, .chris ------------------------------ Date: Fri, 25 Oct 1996 16:31:08 -0500 (CDT) From: donald andrew snyder Subject: Tribune Article Greetings, For those still concerned about the Hitchcock/Bragg phenomenon, here are some comments and selections from a Chicago Tribune interview of them (which was shocking in itself): 1) Title: Opposites Attract--Artful Hitchcock, Political Bragg Unite in Folk 2) Pictures: Robyn's is bigger and on top. 3) Quotes: Robyn: "Now I just borrow musicians, dust them off, give them some money and hope I haven't offended them. I just didn't want to be a part of this six-legged animal, this gang, anymore." Billy: "When I started I wanted to sound like Elvis Costello backed by the Stones or the Clash." "We're both really strong lyricists, and contrary to what some people might think, we're natural bedfellows." Robyn: "Bill's an old punk, I'm an old hippie, and we're both folkies. We both listen to enormous amounts of music. We carry around our own record libraries, and a lot of that has gone into us. They don't make 'em like us anymore." On a side note, Ray Davies will be in town Nov. 17. Do any Kinks fans know more about this? Andy PS: Mitchell Froom produced Richard Thompson's "Amnesia." Someone linked Froom in earlier. ------------------------------ Date: 27 Oct 96 17:42:01 -0400 Subject: Winter Love (tab) From: "Aidan Cully" This is a real easy one.. Winter Love by Robyn Hitchcock from the album I Often Dream of Trains (Rhino) [Em] [G] [A7] [C] E-----0-------------------------- B-------------3-------2-------1-- G-------0-------0-------0-------0 D---2-------0-------2-------2---- A-----------------0-------3------ E-0-------3---------------------- [Em]It's the [G]darkest [A7]time of [C]year... Crystal Branches everywhere... ------------------------------ Date: 27 Oct 96 17:43:32 -0400 Subject: Sweet Ghost of Light (crd) From: "Aidan Cully" another easy one.. Sweet Ghost of Light by Robyn Hitchcock from the album Eye (CD version) Twin Tone/Rhino records [C] Sweet Ghost of Light [Em] When you appear [Am] You fall around me [G] Everywhere I see your face As you pass by As fragile as a Dragonfly You jab me in The kidneys like A compass or an Iron spike I can't help Believing in you Because I love The things you do Sweet Ghost of Light I've lived too long I'll die for you Inside this song The sweetest death That I could dream Like petals flowing Down the stream And turn to blood As they dissolve And it's around you I revolve Sweet Ghost of Light You never fail By nothing else were You betrayed You fill me till I'm empty and You empty me like Grains of sand I love you more Than anyone Beneath the moon [A] Beneath the sun ------------------------------ From: firstcat@lsli.com Date: Fri, 25 Oct 96 11:12:04 Subject: help! I know this is sick, but does anyone have a jpg or gif of Michael Bolton?...I am doing a add for a local club and all the MB web sites are dead (thank god).... Cheers Jay ------------------------------------- Jay Lyall Channel Sales Director Livermore Software Laboratories, Intl. 2825 Wilcrest, Suite 160 Houston, Texas 77042-3358 1-713-974-3274 jay@lsli.com Date: 10/25/96 "I'm not a vegetarian because I love animals; I'm a vegetarian because I hate plants." --A. Whitney Brown ------------------------------------- !v ------------------------------ From: jojones@mailbox.syr.edu Date: Fri, 25 Oct 1996 20:31:30 -0400 (EDT) Subject: greetings from montreal! i am amazed to be sending you fegs anything. we just bought a used laptop, and decided to test out the modem. no lie--this is from a montreal hotel room. well, ross and cory wrote about the show. i saw the messages but don't want to read them just yet. (time's short--long distance) i will say that Robyn's set was way too short. It was sadly obvious that billy was the main draw. I feel like it is a setback. Robyn should nver have agreed to tour with Billy. All it will accomplish is bring new fans into the fold. He played for only 55min, Deni is accompanying him on the tour. Why? There is only time for her to play on 3 songs! oh well. All that aside, his set was great. Grant Showbiz was overseeing the live mix for both Billy and Robyn, so the sound was top notch. nice echoes and reverbs in chinese bones. ------------------------------ Date: Mon, 28 Oct 1996 16:15:13 +1300 (NZDT) From: james.dignan@stonebow.otago.ac.nz (James Dignan) Subject: another f#@#$%@#$^g link >OK smart guy, here's a bonafide excuse for Paul Carrack: >Robert Fripp->Tony Levin (King Crimson) >Levin->Peter Gabriel (So???) >Gabriel->Mike Rutherford (Genesis) >Rutherford->Carrack (Mike + Mechanics) >Carrack->Glenn Tillbrook (Squeeze) >Tillbrook->RH (Flesh #1) > >Tony Levin is a good vertex - he's played with everybody. aye, but so's Robert Fripp - after all, he's played with Gabriel (producing his second solo album, performing on several of the tracks and even touring with him). Fripp's also worked, of course, with David Bowie, The Roches, Toyah Wilcox, Brian Eno, David Byrne and even Daryl Hall of Hall and Oates. And ex-members of his band King Crimson have gone on to be in UK, Yes, Asia, and Journey (IIRC). Oh, and KC's drummer worked with XTC, whose Andy Partridge has worked with Thomas Dolby, who apparently worked with a Mr. R. Hitchcock, whoever he is... Tony has, however, played with everyone from Kate & Anna McGarrigle to Paul Simon, so he's pretty useful to tie other people in. James ------------------------------ Date: Fri, 25 Oct 1996 14:54:49 -0500 (CDT) From: Truman Peyote Subject: Re: comtinuation of disrupted black lace, leaving threads dangling. On Fri, 25 Oct 1996 LORDK@library.phila.gov wrote: > It seems to me for a proper leg off--Robyn should be enticed intothigh highs? > Would he shave his legs, or would that just enhance the black lace > angle. > Susan, would that I was half as wonderful as I am in my own mind. > You heard \Marc Allens comment--Sweet!!!!--Innocent!!!!! > Not hot babe,not femme et all, just sweet and innocent. > Grrrrrrr. Don't growl, that's not what he said. If my memory serves me well, he said you only SEEMED that way but actually had a twisted mind. Feel better? :) > Well-since weve at least established that Im a blonde and youre > auborn, may I enquire if Eves a blackie? If so, Actually, I am a former auburn :). Perhaps I gave the wrong impression, cause actually what it is is dark brown with a very reddish cast to it. Hopefully Eve's actually a redhead so we can still complete the triumvirate! > This would make us an enticing trio of graces. > And who says we'd have to take turns? > Hes got arms, hes got legs----and possibly a few other appendages > and orifices which could be put into sighmotaneous uses. Hmm.....correct, but it seems to me that perhaps we are not taking our own selfishness into account here. I for one like a lot of attention! > Tommorrow, Ill disnown having had anything to do with any of this > topic, but for now---its diverting me from reality--so thank youall > for existing in cyberspace, and not the dreadful here and now. Yes, since if this were to take place in the here and now I'd be coughing all over everyone and it would be most unpleasant :). Ahem....... ObRobyn- Got ahold of the "Greatest Hits" a few days ago. What a stupid title. And why did they do that split with the "Eyes" intro? I agree with the person who thought they should have made it a sort of rarities comp. rather than try for some sort of uneasy compromise- who but Fegs are buying it, anyway? Would have definitely liked to see "Watch Your Intelligence" and perhaps a few live tracks from the vaults instead of "Baloon Man" and "SYTYIL", which God knows are readily available (nay, ubiquitous) elsewhere. Losers! A&M really screwed up with him, and now that he's finally gotten some measure of creative control, he's ended up with an album that's selling decently, and more importantly is quite wonderful- I wonder if has finally occurred to anyone over there that pushing the heavy production was a bad idea. Noticing recently that they also really screwed up with John Cale in surprisingly similar ways. They obviously just don't know how to handle non-mainstream, strongly individualistic talent. Susan the supremely bored and bronchially impaired :) ---------------------------------------------------------------------------- The End of this Fegmaniax Digest. *sob* .