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 #218 Fegmaniax Digest Volume 4 Number 218 Tuesday October 29 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: ------- ------- That Nifty Game That elusive Robyn/Dolly connection You & Oblivion Re: Link chain NPR interview Re: OFF: The Game - odd Linkages, some answers Toronto Show Report (LONG - SOME BRAGG CONTENT TOO!) Re: Y & O lyrics Re: Toronto Show Report (LONG - SOME BRAGG CONTENT TOO!) Interviews One more thing One last link Heliotrope (tab) Re: One last link ------------------------------ From: Terrence M Marks Date: Tue, 29 Oct 1996 00:32:06 -0500 (EST) Subject: That Nifty Game Here's something that caused some controversy a few months ago (no...not *that* thing that caused controversy...) Brian Wilson to Robyn Hitchcock Brian Wilson-Rikki Fataar ("Holland") Rikki Fataar-Neil Innes (Rutles) Neill Innes-Viv Stanshall (Bonzos) Viv-Keith Moon (Some of viv's solo stuff) Keith Moon-Pete Townshend (They were both in the movie "Tommy"?) Pete Townshend-Dave Gilmour (Gilmour's "About Face") Dave Gilmour-Nick Mason (They both did the backing tracks for Roger Waters' "The Final Cut") Nick Mason-Captain Sensible (He produced a Damned album) Captain Sensible-Robyn Hitchcock (He and the Cap'n worked together) Terry "The Human Mellotron" Marks Second Student in the Tendo Kasumi School of Philosophy -Seeking enlightenment through normalcy. normal@grove.ufl.edu ------------------------------ Date: Mon, 28 Oct 1996 23:42:51 -0700 From: gondola@deltanet.com (E.B.) Subject: That elusive Robyn/Dolly connection Throw THIS link into your flowcharts.... On her new album Treasures, Dolly Parton does "Walking On Sunshine." I'll let you fill in the rest of the blanks.... GB ------------------------------ Date: 29 Oct 96 03:12:15 EST From: Positive Vibrations <101356.2516@CompuServe.COM> Subject: You & Oblivion According to the lyric sheet sent out with press copies, the verse in question is: You left your radio on With fairies all over it When all the music ran out You were in Mobabit I have no idea what this means. I assume it's some small town somewhere (I think it's in Maryland), and is one of those lyrics that only mean anything to the writer. Equally, it could just be transcribed by someone at the label who had to guess at parts of it, as happened with 'Arms of Love'. Aidan ------------------------------ Date: Tue, 29 Oct 1996 11:40:52 +0000 (GMT) From: M R Godwin Subject: Re: Link chain On 28 Oct 1996, Lord Aidan wrote: > > Sample Problem: Get from Robyn Hitchcock to Syd Barrett. > > Rule: You are only allowed to pair off people who have made a record > > together. > > > Robyn Hitchcock and Matthew Seligman > Matthew Seligman & David Bowie > David Bowie & Syd Barrett OK, I'll bite! When did David Bowie ever record with Syd Barrett? Did you see Glen's neat: Robyn Hitchcock>Captain Sensible Captain Sensible>Nick Mason (produced the Damned, apparently) Nick Mason>Roger Keith Barrett - Mike Godwin ------------------------------ Date: Tue, 29 Oct 1996 06:50:50 -0500 (EST) From: Tracy Aileen Copeland Subject: NPR interview LH: This is Weekend Edition. I'm Leanne Hansen. ["Sinister But Happy" begins] It's the last Sunday of October. We've returned to standard time now that our clocks are set back an hour. The autumn leaves here are at their peak, and jack-o'lanterns will soon be glowing, a rather perfect time to hear the new recording by Robyn Hitchcock called _Moss Elixir_. His tunes move from moonlight into shadow, his lyrics are magically realistic and when he spoke to us from London he waxed positively poetic about fall. RH: It's beautiful because it's so decadent. It's like somebody walking around with a bag of daylight, and this bag has got a big hole in it, and the daylight's pouring out, and this person's walking along the street, and you wanna say "You've got a hole in your bag! We're losing all this light!" And, and the person would just say, "Yeah?" It's a terrific feeling, we're losing two minutes light a day, I think, and it's terrible, but it - it's also the sunlight that you get becomes gentler, the sun becomes - LH: Hnh. RH: - it's not as feeble as it is in midwinter, and it's not as domineering as midsummer. Autumn light is fantastic. ["Sinister but Happy" plays] LH: I wanna talk about your violinist, if you don't mind. RH: Oh yeah, do. LH: Yeah, Deni Bonet? RH: Yeah. Deni Bonet. Yeah. LH: Oh, I love the, the music that opens the CD, uh - RH: Mm-hmm. LH: - "Sinister but Happy." RH: Well, she's a very elegant player, very intricate. She's - she can overdub herself frighteningly easy, like a spider could, you know, twenty-four track spiders. But I don't think she's poisonous, though. LH: No. RH: I don't know if, you think, people aren't frightened of Deni in the same way they're frightened of spiders. LH: She's not sinister - RH: Uh - LH: - but happy, right? RH: No, she's, there's, she's actually one of the least sinister creatures I know, is Deni. She lives in New York now, but I met her at Mountain Stage, you know, National Public Radio - LH: Sure. RH: - West Virginia, and, uh, she turned up in London so, uh, we started doing bits and pieces together, and she's done some touring with me in the States. She, you know, she can quickly find a good melodic line and I think electric guitar and violin is a fantastic combination. I love that sound, you know. [pause; "Sinister but Happy" continues to play] LH: Let's talk a little bit about some of the stories that are on your new CD. I know you've been quoted as saying - RH: Mm-hmm? LH: - you know, "Words sometimes get in the way," but, um, there's some interesting stories here. RH: Hmmm? LH: Where can we tune in to the Devil's Radio? RH: Well, I'm sure you could tune in to it very easily in D. C. [mutual laughter] LH: Are you talking about talk, or bad music? RH: Um, I think I'm talking about talk 'cause I'm talking about opinions. LH: Hmm. RH: We don't have hate radio in Britain. And I was, started writing the song, I just imagined the devil listening to a radio set. I mean I - I'd written a song mentioning that many years ago, um ["Devil's Radio" fades in], about him, Lucifer, listening to a, um, sort of progressive radio show one night in, in London, in an exclusive area of North London called Frognal - LH: Hmm. RH: - and I just thought "Oh, yeah, that's the Devil listening to the radio," and I just got this new song popping up. "Devil's Radio." LH: Huh. [pause; "Devil's Radio" continues to play] LH: Y-your, uh, horn player on this. Pronounce his name for me? RH: Um, Ntshuks. LH: Yes. RH: Ntshuks Bonga. LH: Yes! RH: Well, he's South African, or he was. He's got this great record out. I sorta called it _Flock of Birds Horns_. I-it's kind of emotional landscapes that don't have verses and choruses. It's very different to my stuff. He's almost as an effect - he's, he's not loud enough in the mix, but - but I just thought it'd be good to have that - LH: Hm. RH: - pulling in there. LH: You don't like horns, as a rule. RH: No, I think probably because of ghastly mellow saxophones, you know, 1974, all that stuff. LH: Mm-hmm. RH: I never really heard the raunchy rock'n'roll sax, or, or, you know, Coltrane and, um, Charlie Parker, or, or - to me the sax was this washed-out thing that sort of turned up in the seventies, and - LH: Hmmm. RH: - you know, the George Michael thing. [sings the "Careless Whisper" riff] All that stuff gives me what my friend Fletcher calls "the heaves". [LH laughs] But, um, there are - LH: I think it's - I think it's the equivalent of violin strings in the early, you know, jazz records, where, uh, they would - RH: Yeah. LH: - sweeten everything up with the violin. RH: Well, there you are, I've got the violin on the records, but you, but, yeah, I mean, both Ntshuks and in fact my friend James Fletcher who arranged the horns on "DeChirico Street" are not conventional sax players. LH: There's a, a great horn in the, in the background, um, I'm hearing, uh - is it Dave Woodhead? - in "Beautiful Queen". ["Beautiful Queen" fades in] It sounds like, um - RH: That's the trumpet, yeah. LH: - the trumpet - it's the, it's the "Penny Lane" trumpet! RH: Yeah, he said, "Do you" - I've worked with him before, he does stuff with Billy Bragg and he said "Do you want the Penny Lane trumpet?" and I said "Yes, please." So we just pressed that button. [pause; "Beautiful Queen" plays] LH: "Beautiful Queen" is, is a terrific, evocative piece of music. I mean, I felt like I was hearing things that I haven't heard for thirty years. There's a, a lushness to this arrangement and orchestration. RH: I have to watch out for that, actually, 'cause I think the band that I worked with f-for the long time, the Egyptians got too lush, but I - it's, it's, what you mean is it's got backwards guitar on it, probably, and a bit of - LH: Yeah. RH: - trumpet. LH: Yeah. You want to be very careful about the word "production". It's not something that you like very much, right? RH: Well, I don't think it suits me, you know, uh - it works with some people, and I've flirted with it often enough, ["Beautiful Queen" fades out] I mean either I've never quite been with the right people or it's just never done for me - it doesn't have that pan-searing effect, you know, if you, like, chuck a piece of swordfish into a boiling piece of metal you'll get that hiss and then all that smoke comes up and you get that smell released - and production doesn't seem to do that for me, it just makes me overcooked and mushy. LH: Hmmm. RH: It has to be fast with me. I have to get the first take and, you know, if I'm really out of tune I'll do it again, but that's it, I just need the essence of the song. [pause; "The Speed of Things" begins] LH: Do you think recording is, I don't know, what, a necessary evil? A drudgery, in some respects? RH: Yeah, I don't think recording is the ideal mode. I mean, the, the Egyptians, I think, we were always better live than on, in the studio, and I think I am too. I don't think recording's that great and I reckon most musicians probably would go along with that. But, uh, it's a dilemma because when you play live you're expected to get it right, you do your solo, you don't say "Oh, hang on, I'm gonna take that solo again" or "Gee, I wonder if those harmonies were bad." You know, you, you, as a professional musician you're able to turn it in an hour and yet you're expected to spend five weeks making a record, you know. LH: Hmmm. RH: Why can't you just bang these songs down? LH: Would you try that, do you think? Just first takes, that's it? RH: Well, that's, that's - that's the next thing is gonna be, hopefully, we're just sorting out the distributors, but I'm doing, um, a couple of shows that Jonathan Demme is gonna be filming in New York. LH: Hmm. RH: You know, he did _Silence of the Lambs_ and _Stop Making Sense_ and all that. LH: Yeah. RH: And he's just gonna film me doing a couple of shows in front of a small audience. LH: Hmmm. RH: I think we're gonna have the budget to build a lantern with black and white stripes. One side's going to have a green lantern. Did you ever read the Green Lantern comics - LH: Sure, you bet! RH: - as a kid? LH: Yes, we have a Green Lantern #2. RH: Wow, never! LH: Yeah, really! RH: I think mine only went back to the sort of twenties or something. LH: Yeah. ["Man With A Woman's Shadow" fades in] RH: I just like the colors and things and I liked the drawings, the perspective was good. LH: Is it - RH: And that's why I always wanted to visit America. There was always some ... thing about America, it was the comics, then it was Dylan, then it was Captain Beefheart, and there was always something to fantasize about you, the United States. LH: But you like the atmosphere, I guess, that comes from there - comic books? RH: I went - I went straight from reading those things to listening to Bob Dylan. You know, it was my, was my sort of psychic bar mitzvah, it was moving from those sort of fascist white musclemen to old Bob. [mutual laughter] [pause; "Man with a Woman's Shadow" plays] LH: I love what you've sent along with the CD, your personal history and timeline. I, I suppose it's for those of us who, you know, wanna ask questions and we don't have to because you've provided all the answers for us. But I do have one, based on this - RH: Mm-hmm. LH: - back in 1967 Brian Eno organized a concrete music event in the basement of your school, he's wearing - RH: Yeah. LH: - blue sunglasses. RH: That's right. LH: Next year you learned how to tune your guitar, and you bought a pair of blue sunglasses. Then later on, you meet Brian Eno at a party, who remembers the event at your school but he doesn't have the sunglasses. RH: No, and I don't know if he even remembered them, actually. LH: Do you still have yours? RH: No, no, I bought some new ones and I've lost them already. LH: [laughs] RH: Uh - no, but I remember Eno had sort of long hair and round blue sunglasses, and he looked like the apex of cool, you know. Eno had two tape recorders and somebody playing a D-tuned violin, and the violin is going and someone lit a stick of incense. It was fantastic. LH: Wow. RH: We'd read about the Velvet Underground but hadn't actually heard them. So we were all imagining this is what the Velvets must have been like. LH: You have to admit, though, I mean, there must have been com - some kind of seminal influence on you when you f - started doing your stuff. RH: Well, it was what everybody was doing at that time. LH: Hmm. RH: You know, it was, it was ... You must be from my sort of neck of time, I would assume. LH: Yeah. RH: We were all just set to sort of fire off and then land with our noses in different fields, kind of embedded in the earth like experimental aircraft that had enough fuel but no navigator or something. Most of the sixties characters wound up being what we call cranks. Over here when y'all say "cranky", in the States you mean "irritable," don't you? LH: Mm-hmm. RH: You know, that's, that - "That's one cranky dude, man." But, but over here if you're a crank it just means you're a sort of eccentric, if you like. ["Filthy Bird" fades in] LH: Ah. RH: Uh, and I think, yeah, a lot of, a lot of those people ended up that way. And I think also so many people mortgaged their futures with LSD. LH: Hmm. RH: Probably the only one of my boyhood heroes who's still producing anything is Lou Reed, and I'm sure that's 'cause Lou never had much to do with acid. LH: Mm. Yeah, there are a lot of people that opened up their minds and then completely forgot about them. RH: [laughs] Yes! LH: Lost them. RH: Well, the open mind just filled up with dead leaves and all the detritus. [pause; "Filthy Bird" plays] LH: Can you tell us about the story that you wrote in the place where I usually would read lyrics or a little bit about production? You, you've told this incredible story about life and death and birth and infinity in the, in the liner notes. RH: Well, basically, I see mankind as being on a precipice, and I'm not the only one. But I think that unless we make a, an evolutionary leap we're probably doomed. ["Filthy Bird" fades out] I don't think the human animal can carry on much longer without destroying itself and taking everything else with it. In the story I wrote I imagined that people's third eyes were gonna open, and when your third eye opens you achieve empathy, which is, I think, what we lack. I mean, I'm, I'm speaking for myself outwards, you know. So that if, you know, somebody cuts their thumb everybody else can feel it. So if somebody's got PMT everybody else is res - you know, responds to that. It doesn't mean everybody's crippled, you know, it's not like you bang your knee and a nation, a nation as one grab their knees and fall to the ground, but - but if you could generally feel more of how other people felt I think the world would be run better. So I wrote a story about that in which, uh, somebody's third eye opens after they've drunk this potion called "moss elixir" - LH: Hmm. RH: - and I also put in references to various characters in the song and the record. So if you listen to the record and you read the story it all ties in. LH: Robyn Hitchcock, his new CD is called _Moss Elixir_. It's on Warner Brothers records. He joins us from our London bureau. Thanks a lot, Robyn. RH: Leanne, it's been incredible. We've stopped. [laughs] But - yeah. LH: Now we can listen to some music. RH: Oh yes, that's agreeable. ["Alright, Yeah" begins] ------------------------------ Date: Tue, 29 Oct 1996 09:06:18 -0500 (EST) From: Dolph L Chaney Subject: Re: OFF: The Game - odd Linkages, some answers On Mon, 28 Oct 1996 TheQuail@cthulhu.microserve.com wrote: > *Link the Smashing Pumpkins to Frank Zappa Not very elegant, but here goes: Smashing Pumpkins and Flood (co-producer, MELLON COLLIE) Flood and Brian Eno (co-producers, U2's ACHTUNG BABY) Eno and Adrian Belew (Bowie's LODGER) Belew and Frank Zappa Dolph ------------------------------ From: jlaw@qucis.queensu.ca (Jeffrey Lawrence) Date: Tue, 29 Oct 96 11:35:50 EST Subject: Toronto Show Report (LONG - SOME BRAGG CONTENT TOO!) This is my report on the RH/BB show in Toronto on Sun. Oct. 27/96. There are also comments about Billy Bragg as well as Robyn so be forwarned (I am a fan of both so...) I got there at about 7:20 PM - and the doors had been open for about 20 minutes (aagh!) So I rush upstairs to find that all the seats were taken - however, there was a very good corner I could squeeze into that gave me a perfectly clear view of the stage (from the back of the hall which is not far). The entire theatre was PACKED - I estimate at least 800 people - they DEFINITELY broke the fire code. At 8PM *sharp* Robyn started. Here's what he played: [enter Robyn w/ acoustic - 8:00 PM] Devil's Radio (scratched vinyl version) Balloon Man Guildford (new song) 1974 (new song) [enter Deni Bonet] DeChirico St. Egyptian Cream Statue With A Walkman [exit Deni] Beautiful Girl I Am Only You The Devil's Coachman [change acoustic to electric Tele] I Am Not Me You And Oblivion [encore - solo acoustic] Sinister But She Was Happy I've Got A Message For You [Deni returns; switch to electric] Driving Aloud (Radio Storm) [Finish - 9:20 PM] Comments: It was a good set but not a brilliant one. One BIG problem was that the fire alarm kept going off! I think that in Robyn's set, it went off 6 times! Ironically, it never went off once in Billy's set.... (if it wasn't for the fact they have the same manager I'd say something was up). Funny thing was the first time (which was the longest) RH had JUST started Devil's Radio - so he started doing this skipped record thing, repeating snippets of the first line over and over like a broken record - very funny (it won the audience over a bit). "1974" was the highlight tho - everyone I met said that was the best song (and I never met any RH fans at the show - all BB fans!). Deni was VERY good - she really adds to the songs visually and musically. The other highlight was Radio Storm which was done somewhat like Hendrix at Woodstock ;-) - very powerful. However, he played a lot of obscurer and slower songs (and some were stretched out to death like Statue) and that really detracted from the set (I think that a faster paced set would have been better). It certainly did not help in making fans IMHO. But I really enjoyed it all the same (esp. when Deni was on - the pace picked up then (except Statue)). However, the audience really didn't care that much for him (polite applause at best). But he played 1:20 which is a miracle for opening acts. Then after a VERY short break (~15 minutes) Billy came on (to a pile of reggae music!?!). Here's what he played: [Enter Billy w/ green acoustic-electric - 9:40 PM] The World Turned Upside Down To Have And To Have Not She's Got A New Spell [switch to solid black electric Strat] St. Swithin's Day >From Red To Blue Cindy Of 1,000 Lives Accident Waiting To Happen [acoustic-electric] Goalhanger Levi Stubb's Tears [electric] The Space Race Is Over Greetings To The New Brunette The Short Answer Brickbat Upfield Sexuality [encore; electric] The Times They Are A Changin' (dedicated to the Bank Of Montreal) Sugardaddy Waiting For The Great Leap Forward [encore; electric] There Is Power In A Union Ontario, Quebec And Me A New England (A.D. 1996) [finish - 11:10] Comments: This was a stellar set. He was playing brilliantly and the song selection was very good (a great mix of stuff). Plus his comments on the Days Of Action (which played at), and other political things were very very funny - esp. funny when he started calling Ontario a state and the audience booed him - and he said something like "state? Province? What difference does it make to the suits?" - quite hillarious. There were a lot of hightlights - New England, Sugardaddy, Short Answer, Levi Stubb's - pretty much every song except Cindy and Power were great (those two I could live without). And unlike other shows that I've seen mentioned on the list, the balance was roughly 50-50 in time (RH was on for 1:20, BB on for 1:30 - and I know this cause I timed each set with my watch). Now comes the fun part!!!! I went down to the stage door and asked the security guys if either were coming out for autographs - they looked at me as if I was an idiot. Then I saw Peter Jenner (their manager and the guy who established Pink Floyd) talking with some people, and I patiently waited till they were done and asked if Robyn was coming up (everyone was asking him about Billy - mostly university newspapers wanting interviews - no one really wanting autographs - maybe 20-30 people). And Peter (who was VERY nice to me considering he didn't know me from shit) said that he would see what he could do. He went away and the venue security started hassling everyone who was standing there but I said that Peter said to wait here etc. - so they left us. Peter came back up and was saying to the press people "come down and see Billy" - and then he saw me and said "You wanted to meet Robyn? Well come downstairs with me and meet him"!!! I was just trying to stand there and look non plussed, but failed miserably! So I followed this convoy of people down (Peter cleared us all with security) and there was Billy (mobbed by 20 people or so) and Robyn off in the corner by himself! And there was free drinks!! So I got a drink and by this time Robyn had migrated to the bar and was talking with 3 women who turned out to be RH fans from England (living in Toronto) from the SB days that RH had known forever (as had Michelle). So I just stood in the shadows listening the conversation and they started drawing me in - they never said fuck off, or who are you etc. - just started talking to me in part of the conversation - and that's how I wound up speaking with Robyn for about 40 minutes! We wound up talking about the show, the new songs, the tour, and lots of other strange stuff (he kept calling me Dirty Jim! So I said "can I call you Nigel then?" And he said "Sure" (No joke...)) The one thing that I FORGOT to ask/tell him about was Glass Flesh - oops!!! But I told him about how much I love the new album etc. and he seemed touched (nobody was really paying attention to him!). And I told him about the list and was surprised to meet another one in the flesh and was wondering whether I was psychotically dangerous ;-) He's much more lucid in real life, but he's not totally there either - it was interesting talking to him. And I had forgotten how TALL he was! (He kept complaining about how fat he was - I didn't think so...). And the nice thing was that about 5 minutes after we got down there and I was starting to talk to RH, Peter Jenner came over to make sure I found Robyn etc. - what a NICE guy (I am sure he can also be a complete bastard to those that piss him off but...) Michelle came over sometime in the coversation and I met her too - man is she attractive! - no wonder why she's with RH! I also met Deni and was really impressed by her (she's tall too!)- we really hit it off actually. Did anyone know that she played in the Mountain Stage house band in the early 90's (how she met Robyn - she's the strings on the Egyptian stage show) and backed everyone including Richard Thompson? She said that she was SO intimdated by him - the presence was that powerful. We talked and talked and talked about everything - and she was going get to me a copy of her band's stuff but her bag was already carted on the truck (so she's sending one when she returns). A very cool person indeed! Then I wanted to snag Billy before he left (most of the people had left by this time) and got lucky once again. We started talking and I thanked him for the show, and the great new album etc. - and then I was talking about Jack, and he goes "do you wanna see some pictures of Jack?" - so we sat down on the couch and he pulls out this ROLLL of pix of Jack from birth till today (almost 3) and we were talking about Jack for 5 minutes(?!). I think he seemed to like to talk about that We also had an interesting conversation on soccer But he too was very very nice to me - he could have said "fuck off" but he didn't and I really enjoyed talking with him. All in all, it was a fabulous night - one of the best ever for me - sometimes you know, you just get lucky..... -- Slainte!, Jeff "I'm not a vegetarian because I love animals; I'm a vegetarian because I hate plants." --A. Whitney Brown ** JEFF LAWRENCE (jlaw@qucis.queensu.ca) ** Systems Specialist, Robotics and Perception Labs, Dept. of Computing and Information Sciences, Rm.729, Goodwin Hall, Queens University, Kingston, Ontario, CANADA, K7L 3N6 Ph:(613)545-6656 FAX: (613)545-6513 URL : http://www.qucis.queensu.ca/home/jlaw ** ALBUMS OF THE WEEK (Oct. 4 edition) **: 1) Billy Bragg - William Bloke 2) Johnathan Richman - Surrender To Johnathan! 3) Robyn Hitchcock - Mossy Liquor 4) "Trainspotting" Soundtrack 5) Catherine Wheel - Like Cats & Dogs *************************************************** ** CHECK OUT THE CANADIAN JOB SOURCE!!!!!! ** ** http://www.irus.rri.uwo.ca/~jlaw/job_can.html ** *************************************************** ------------------------------ Date: Tue, 29 Oct 96 08:53:00 -0800 From: Russ Reynolds Subject: Re: Y & O lyrics you guys are right--berries & mauve makes plenty of sense. Besides, I seem to remember hearing "berries" quite clearly during the last tour. >When all the music ran out >You were in Mobabit If I'm not mistaken, Hall of Famer Ted Williams began his professional career with the Red Sox AA farm club, the Mobabit Mauve Sox. ;)rr ------------------------------ Date: Tue, 29 Oct 1996 12:00:05 -0500 (EST) From: Vashty Hawkins Subject: Re: Toronto Show Report (LONG - SOME BRAGG CONTENT TOO!) Wow! Lucky you! I'm deeply envious. Forgot about the incessant fire alarm that kept going off throughout RH's set. But are you sure that RH and BB played for about the same time? BB's set seemed much longer ... VAH ------------------------------ Date: Tue, 29 Oct 1996 10:04:41 -0800 From: Nick Winkworth CC: tclark@apple.com Subject: Interviews Thanks to Tom for the tip about the ATN interview. Nice one! -- The writer is clearly a partisan RH fan, however. The reference to shirts is a dead giveaway!! ("Hitchcock believes that "Hindsight is a groovy bedfellow," a sentiment that comes through in his choice of shirts.") Also, whoever offered to post a transcript of the NPR interview -- yes please!! I was somewhat miffed (to say the least) when I saw woj's note on Monday (I was out of town at the end of last week). I'd usually listen to Weekend Edition, but last weekend the demands of kids and pumpkins diverted me from the usual routine. (Alternatively, if anyone planning to go to the SF show taped it and will trade a copy for a blank tape...) Tschuss! -Nick ------------------------------ From: jlaw@qucis.queensu.ca (Jeffrey Lawrence) Date: Tue, 29 Oct 96 14:27:41 EST Subject: One more thing I forgot to add something to my post on meeting RH etc. Robyn was talking with this film guy about the Demme film, and according to Robyn, the film shoot IS on for the 11-13th (of what month he said not - I assume Nov.). They are still trying to get crew for the film, and this guy wanted to work the film. So it looks like it is on (it's being shot on the street of New York - busking type of thing) - and if any Fegs are qualified film people and aren't doing anything, you should contact Peter Jenner ASAP (that's what he told this guy to do anyways...) Thought I should add that... -- Slainte!, Jeff "I'm not a vegetarian because I love animals; I'm a vegetarian because I hate plants." --A. Whitney Brown ** JEFF LAWRENCE (jlaw@qucis.queensu.ca) ** Systems Specialist, Robotics and Perception Labs, Dept. of Computing and Information Sciences, Rm.729, Goodwin Hall, Queens University, Kingston, Ontario, CANADA, K7L 3N6 Ph:(613)545-6656 FAX: (613)545-6513 URL : http://www.qucis.queensu.ca/home/jlaw ** ALBUMS OF THE WEEK (Oct. 4 edition) **: 1) Billy Bragg - William Bloke 2) Johnathan Richman - Surrender To Johnathan! 3) Robyn Hitchcock - Mossy Liquor 4) "Trainspotting" Soundtrack 5) Catherine Wheel - Like Cats & Dogs *************************************************** ** CHECK OUT THE CANADIAN JOB SOURCE!!!!!! ** ** http://www.irus.rri.uwo.ca/~jlaw/job_can.html ** *************************************************** ------------------------------ Date: Tue, 29 Oct 1996 12:44:52 -0800 (PST) From: Griffith Davies Subject: One last link Okay, here is a lengthy one, but I think it is a legitimate one: Robyn Hitchcock to Richard Marx. Here we go: Robyn Hitchcock->Thomas Dolby->Eddie Van Halen->Sammy Hagar->Omar Hakim->Sting->Manu Katche->Peter Gabriel->Nusrat Fateh Ali Khan->Eddie Vedder->Jack Irons->Flea->Steve Perkins->Trent Reznor->Tori Amos->Matt Sorum->Axl Rose->Don Henley->Joe Walsh->Richard Marx. I was really bored last light and had some time to kill. Griffith ______________________________________________________________ Griffith Davies hbrtv219@email.csun.edu ------------------------------ Date: 29 Oct 96 14:24:39 -0400 Subject: Heliotrope (tab) From: "Aidan Cully" Is it just me, or has he fallen in love with a sundial? (intro) E-----0-------0---0---0-----0-----0---0---0-----0-------0---0-- B-3h5---5-5-3---1---------------------------------------------- G-------------------0---2h4---4-2---0-------------------------- D-------------------------------------------0h2---2-2-0-------- A---------------------------------------3-----------------3---2 E-------------------------------------------------------------- E-------0-------- B-----1---1------ G---0-------0---- D---------------- A-3-----------3-- E---------------3 (chord patterns) [C/G] [F] [FC] E---------0------ E---------1------ E---------0------ B-----------1---- B-----------1---- B-----------1---- G-------0-----0-- G-------------2-- G-------------0-- D---------------- D-------3-------3 D-------2-------2 A-----3---------3 A---0-3---------- A---0-3---------- E-3-3------------ E-1-------------- E-1-------------- [CD] [DC] [EmF] E---------0------ E---------0------ E---------1------ B-----------3---- B-----------1---- B-----------1---- G-------------2-- G-------2-----0-- G-------0-----2-- D-------2-------0 D-----0---------2 D-----2---------3 A-----3---------- A---0------------ A---2------------ E-3-3------------ E-2-------------- E-4-------------- [C/G] Heliotrope, my love Her face to the [F]heavens The petals all [C/G]around her [FC]dial A-1-- E---3 Her shadow[C/G] follows her It looks like a [F]seven [FC]And I'm as loaded as a gun [C/G]She worships the [F]sun E---0-----0-------- B-----1------------ G------------------ D------------------ A-2-----0---------- E-----------3---2-3 [C/G]She worships the [F]sun [C/G] [CD] [repeat chords] I lie beneath the ground My eyes are unseeing My name is gone from all the files The tombs are shimmering Deep into her being It could be lethal but its fun [C/G]She worships the [F]sun E---------3---0-- B-----------1---1 G-------0-------- D---------------- A-----3---------- E-3-3------------ [C/G]She worships the [F/C]sun[EmF] [DC][C/G]She worships the sun E------------------ B------------------ G-------0-----0---- D------------------ A-----3-----3------ E-3-3-------------- [repeat intro] She's full of happy beams No shadow within her Your paranoia makes her smile And when the cat's head grins She's ready for dinner You know you're gonna be the one She worships the sun She worships the sun She worships the sun I said now, She worships the sun --aidan ------------------------------ Date: Tue, 29 Oct 96 14:52:00 -0800 From: Russ Reynolds Subject: Re: One last link >Robyn Hitchcock->Thomas Dolby->Eddie Van Halen->Sammy Hagar->Omar >Hakim->Sting->Manu Katche->Peter Gabriel->Nusrat Fateh Ali Khan->Eddie >Vedder->Jack Irons->Flea->Steve Perkins->Trent Reznor->Tori Amos->Matt >Sorum->Axl Rose->Don Henley->Joe Walsh->Richard Marx. can be shortened to 6 moves: RH-Tilbrook Tilbrook-Elvis C Elvis C-Paul McC Paul McC-Ringo Ringo-Joe Walsh Joe Walsh-dick marks 'n how 'bout THIS: RH-Tilbrook Tilbrook-Elvis C Elvis C-Paul McC Paul McC-Ringo Ringo-Andrew Gold Andrew Gold-BEA ARTHUR (he wrote the "Golden Girls" theme song, she acted in the show--does that count?) ---------------------------------------------------------------------------- The End of this Fegmaniax Digest. *sob* .