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 #232 Fegmaniax Digest Volume 4 Number 232 Sunday November 17 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: ------- ------- Re: Rude A round of Kula Shakers? atlanta setlist Re: misc. stuff... Re: Kula Shaker Re: Re: Re: Chesnutt roasting Re: A round of Kula Shakers? Re: Rude CRD: Surfer Ghost 11/13 DC gig set and mini-review Re: Rude Re: Rude tone-loco is THE BOMB!!! Globe article FWD: Boston Globe three fourths of the megalopolis keswick show/setlist fegs, go to the phones Hamburg interview (finally!) Sorry, here's the second half (I hope) Re: Finding Mossy Liquor beacon show Rex Returns to His Evil Ways: A Discourse in Three Parts Re: Rex Returns to His Evil Ways: A Discourse in Three Parts Interview also on website Boston show Re: Feg Digest V4 #230 Re: Rude ------------------------------ Date: Fri, 15 Nov 1996 13:44:01 -0700 From: gondola@deltanet.com (E.B.) Subject: Re: Rude >From: Rob Collingwood > >In message <3288F432.7694@hdshq.com> Nick Winkworth writes: >> What are the three English football teams with rude >> words in their names...?) >> >1 Scunthorpe >2 Arsenal >3 ? Well, the third one (according to Bragg) was "Manchester Fucking United." 'Twas a joke, son.... (one lost on us Americans, I fear) EB ------------------------------ From: Gaseous Clay Subject: A round of Kula Shakers? Date: Fri, 15 Nov 1996 13:49:34 -0800 At 12:26 15.11.96 -0600, Truman Peyote wrote: >And btw- is it just me, or does Kula Shaker sound like a really tasty fruity >cocktail that would be served in half a cocoanut shell with a couple >umbrellas (yeah, I know, I know, it's the name of an ancient Zulu ruler, >but allow me my fancy :))? What would be the base ingredient? Mossy Liquor, perhaps? :) Sorry, --g "If it feels good, do it. Just don't forget your checkbook." --Rita Greene ************************************************************************ * Glen E. Uber glen@metro.net http://metro.net/glen/ * ************************************************************************ Albums of the Week (11 Nov - 17 Nov): 'Help' (UK version), The Beatles 'Trout Mask Replica', Captain Beefheart 'Armed Forces', Elvis Costello 'Mossy Liquor', Robyn Hitchcock 'Dream', Nitty Gritty Dirt Band ------------------------------ Date: Fri, 15 Nov 1996 16:55:08 -0500 From: sister ernestine Subject: atlanta setlist sent to me by someone not subscribed to feg: >Devil's Radio >Balloon Man >I Remember Guilford >Feels Like 1974 >DeChirico Street >Egyptian Cream >Let's Go Thundering >My Wife And My Dead Wife >Glass Hotel >I Am Not Me >You And Oblivion >Queen Of Eyes >Freeze >Clean Steve >Listening To The Higsons >Mystery Train (with Deni and Billy Bragg) +w ------------------------------ "matilda rockweiler" From: Gaseous Clay Subject: Re: misc. stuff... Date: Fri, 15 Nov 1996 14:04:03 -0800 At 12:29 15.11.96 -0800, jeffery j vaska wrote: >do you think that when we die, we ascend to heaven in the clothes we were >wearing at the time we died, do we get a white toga, or do we get to pick >out some new fashions on the way? for me, definitely sandals, large baggy >hiking shorts, and a my glowing blue, pink and yellow flowery (hawaiian >type) shirt... Sounds like a subject for a new thread. How many of Robyn's song titles can you think of that complement the above paragraph? How about: "What Do We Wear When We Die?" "It Fits Great When Your Dead" "Only The Clothes Remain" my favourite: "My Clothes and My Dead Clothes" Forgive me, please. I've been sick and I have plenty of free time to think of stuff like this. Antihistaminally impaired, --g "If it feels good, do it. Just don't forget your checkbook." --Rita Greene ************************************************************************ * Glen E. Uber glen@metro.net http://metro.net/glen/ * ************************************************************************ Albums of the Week (11 Nov - 17 Nov): 'Help' (UK version), The Beatles 'Trout Mask Replica', Captain Beefheart 'Armed Forces', Elvis Costello 'Mossy Liquor', Robyn Hitchcock 'Dream', Nitty Gritty Dirt Band ------------------------------ Date: Fri, 15 Nov 1996 16:10:43 -0600 (CST) From: Truman Peyote Subject: Re: Kula Shaker On Fri, 15 Nov 1996, Ross Overbury wrote: > Cliffy steps into the pub. > > "Actually, Norm, it means 'Good Luck' in one of those languages they > speak in India. Shaka Zulu was the famous Zulu king. The song 'Tattva' > is taken from the phrase 'Acintya Bhedabheda Tattva' which means > 'no worries for the rest of your days'. It's our problem-free philosophy." > > The crowd sighs in relief as Cliffy stops talking to suck on a fruity > cocktail. Too many of them, apparently, Cliff ;). >From the December 1996 issue of "Musician"- "Kula Shaker (named after a sixth-century Indian king)............." I knew I'd pulled that king idea from something other than thin air (and think of it, I've never touched a psychedelic in me life!) > Actually, "A.B. Tattva" means "the simultaneous inconcievable difference > and non-difference of reality". Sounds pretty scary to me. I think that actually sounds pretty cool. Especially with wah-wah effects and swirly organ behind it. Susan ------------------------------ Date: Fri, 15 Nov 1996 14:16:20 -0700 From: gondola@deltanet.com (E.B.) Subject: Re: Re: >Actually, said Hitchcock, ``we're both very left. Bill believes a socialism >of the heart will prevail and >we'll one day live together in harmony. I believe that the human race would >have to take an >evolutionary leap for that to happen, but I'd be quite happy if it did.'' Robyn said something very cute about the difference between him and Billy in L.A. I can't quite remember it, but it boiled down to something like "Billy has faith in the human race, while I have no faith in anything." Then he went on to explain the psychological benefits of ending the show on an "up note" with Billy's humanism. I can't do it justice, but it was very funny and insightful. >From: Hedblade@aol.com > >If there REALLY is >room for damn-near every style, then why is Craig Ross' great debut ("Dead >Spy Report" MCA records) being snubbed? I heard it. I wasn't impressed, myself. And that single "Shame" should be illegal, it sounds so much like Bowie's "Heroes." Ross is REALLY disturbing in concert too. He looks like he has a screw loose -- always balling up his face and grimacing skyward for no apparent reason. If I wanna listen to deranged dudes from Texas, I'll take the Buttholes, Roky or Daniel Johnston. EB ------------------------------ Date: Fri, 15 Nov 1996 14:22:17 -0700 From: gondola@deltanet.com (E.B.) Subject: Re: Chesnutt roasting >From: TPJSHEDS@aol.com > >Actually, it was my thirtieth birthday yesterday. Yeah. And I went to see Vic >Chestnutt and had a lovely time. I don't mean to carp again, but I'm a big Vic fan and it drives me NUTS how everyone misspells his last name! C-H-E-S-N-U-T-T. No third "T!" Mope, EB ------------------------------ Date: Fri, 15 Nov 1996 16:18:00 -0600 (CST) From: Truman Peyote Subject: Re: A round of Kula Shakers? On Fri, 15 Nov 1996, Gaseous Clay wrote: > At 12:26 15.11.96 -0600, Truman Peyote wrote: > > >And btw- is it just me, or does Kula Shaker sound like a really tasty fruity > >cocktail that would be served in half a cocoanut shell with a couple > >umbrellas (yeah, I know, I know, it's the name of an ancient Zulu ruler, > >but allow me my fancy :))? > > What would be the base ingredient? Mossy Liquor, perhaps? :) I think it would be Strawberry Alarm Clock, followed by a shot each of Beatles and Hollies and a dash of Donovan. Yeah, I know, people have been shot for less- Susan ------------------------------ Date: Fri, 15 Nov 96 14:40:00 -0800 From: Russ Reynolds Subject: Re: Rude ======== Original Message ======== >From: Rob Collingwood > >In message <3288F432.7694@hdshq.com> Nick Winkworth writes: >> What are the three English football teams with rude >> words in their names...?) >> >1 Scunthorpe >2 Arsenal >3 ? Well, the third one (according to Bragg) was "Manchester Fucking United." 'Twas a joke, son.... (one lost on us Americans, I fear) EB ======== Fwd by: Russ Reynolds ======== This American thinks it's very funny. I'm currently pouring over the NFL teams trying to come up with a US version of the joke, punchline "Dallas Fucking Cowboys" ------------------------------ From: Terrence M Marks Date: Fri, 15 Nov 1996 17:44:22 -0500 (EST) Subject: CRD: Surfer Ghost @SURFER GHOST [Ddim is played XX0131. Also, the the chords over the "San Diego" parts are the bass, with the open strings strummed between. Listen and you'll understand better.] B A G A(5) B C# D B A G A San Diego, San Di-e---go G D G D Ddim D Ride away on your golden voice, little Surfer Ghost Sail away on your perfumed isle, f little surfer ghost, little fb D surfer ghost roar away with your head in bloom little surfer ghost,little surfer ghost San Diego, San Diego All at once, there's no sun at all little surfer ghost, little surfer ghost Water is such a deadly friend little surfer ghost, little surfer ghost A I'm a spoiled child D I smash my favorite toys A E 'cause I'm a boy and your a girl and there is nothing in this world but only loneliness, only loneliness and dreams only lonelyness only lonlyness and dreams San Diego Tired arms on your golden fleece little surfer ghost, little surfer ghost Arm in arm on virginia beach little surfer ghost, little surfer ghost Surfer ghost. Terry "The Human Mellotron" Marks Second Student in the Tendo Kasumi School of Philosophy -Seeking enlightenment through normalcy. normal@grove.ufl.edu ------------------------------ Date: Fri, 15 Nov 1996 17:51:55 -0500 (EST) From: Bayard Subject: 11/13 DC gig set and mini-review Set list courtesy of Rob Gronotte: [shirt: the ubiquitous black and white one. black jeans and boots.] Devil's Radio Balloon Man [applause as vocals began] Serpent At The Gates Of Wisdom ["this is not by jimi hendrix, though it's in the same key as one by him i _do_ sometimes play"] (Feels Like) 1974 [sounds like "the feelers was everywhere"] DeChirico Street [enter deni, exit the traffic cone that saved her place] Egyptian Cream Let's Go Thundering [exit deni, but the cone didn't come back] I'm Only You [much concentration and no mistakes i could discern, this time] The Yip Song [electric] I Am Not Me You & Oblivion Heaven [i don't think deni joined him for this, but maybe should have] Freeze [i like the solo electric freeze!] [encore (electric, deni, alligator and abstract sausage shirt)] Beautiful Queen (much reverb and slow gesticulation) Listening To The Higsons (deni sings backup and plays) Robyn played for about 80 minutes. I thought it was quite good. The audience was appreciative and Robyn was in good spirits. I liked the new songs. Robyn's guitar looked and sounded a little beat up (the acoustic.) He talked about the days living in georgetown, and how tiny harpies used to swoop down on him in the cafe, and grow to the size of jumbo jets just before disappearing into his third eye. that's why he left town. A few requests for Dr Sticky and one for Dead Wife. He also explained why he goes on before billy: RH is the embodiment of cynicysm and BB is the embodiment of (?)idealism(?). Also RH is from the 60's and BB is existing in the 90's. Robyn didn't seem particularly obese to me. I left early to go and meet everyone, but was late anyway due to construction traffic. took me about 45 minutes to travel 1.5 miles. i look forward to talking to you guys in greater depth next month at the party (let me know what weekend is good). I also met someone who's on the list who took some photos of robyn and deni, hope they end up on a web page someplace. and i met a chap named steve who's been on the list for a short while. he was really nice; and (dare I say it?) clean. so if you want to email me steve, this is to confirm i'm the same bayard you met. billy was really good too but talked several body parts off (total time 1:50). email me if you want the setlist. cheers, all. =b ps. I saw Stereolab the night before. If you go to their show, bring earplugs!!! Note that the Ventures are currently on tour as well. ------------------------------ From: Gaseous Clay Subject: Re: Rude Date: Fri, 15 Nov 1996 15:19:46 -0800 At 13:44 15.11.96 -0700, E.B. wrote: >Well, the third one (according to Bragg) was "Manchester Fucking United." >'Twas a joke, son.... (one lost on us Americans, I fear) I suppose it is similar to Bay Area fans who refer to that team in San Fran as the "Forty Fuckin' Niners". I myself prefer the "Oakland Fucking Raiders". Cheers, --g "If it feels good, do it. Just don't forget your checkbook." --Rita Greene ************************************************************************ * Glen E. Uber glen@metro.net http://metro.net/glen/ * ************************************************************************ Albums of the Week (11 Nov - 17 Nov): 'Help' (UK version), The Beatles 'Trout Mask Replica', Captain Beefheart 'Armed Forces', Elvis Costello 'Mossy Liquor', Robyn Hitchcock 'Dream', Nitty Gritty Dirt Band ------------------------------ Subject: Re: Rude Date: Fri, 15 Nov 96 15:32:45 -0800 From: Tom Clark "The Lobster Gang" Glen wrote: >I myself prefer the "Oakland Fucking Raiders". I think the Raiders do too! -tc ------------------------------ From: BLATZMAN@aol.com Date: Sat, 16 Nov 1996 04:52:00 -0500 Subject: tone-loco is THE BOMB!!! I must say that I never saw this Brag Bomb as anything more than a playful nudge, and I think people are really reading it the wrong way. I know Jeff, sometimes it's fun to get on the high horse, but sometimes you have to look hard to get the TONE of the written word. It's a skill that comes over time. Keep trying! Jeff also comments: "would Robyn think you're "cool" for starting a flame war with BB's fans? No - he'd think that you were acting a jerk." Well Jeff, I like Robyn's music and I really don't give a rat's ass what he thinks about me. We might get along okay, but I wouldn't bet on it. I'm an adult, and I'm very comfortable with who I am. I don't need Robyn's approval of the things I do. I think an assoult on another list would be very sad, but I also don't really think anybody here was seriously going to BAD VIBE them either. Come down, the air up there must be very cold. It really is rather cosy here. BLATZMAN ------------------------------ Date: Sat, 16 Nov 1996 10:21:08 -0500 From: Alex Tanter Subject: Globe article Hey y'all. There's a nice write-up on RH/BB in today's Boston Globe but I can't forward it to the group. If someone else can, go into the Globe's web site and go to the section called "Music." It's not in the Arts section. Boston tonite--finally!! Marcy :) ------------------------------ From: firstcat@lsli.com Date: Sat, 16 Nov 96 09:41:22 Subject: FWD: Boston Globe The Brit Split: Singer-songwriters Billy Bragg and Robyn Hitchcock have different takes on reality By Jim Sullivan Globe Staff, 11/15/96 A question is posed to Billy Bragg, on the phone from San Francisco: Why should folks come early to Avalon tomorrow night, at 7:30, to see Robyn Hitchcock open the double bill? "I think if they like what I do - which is I'm a singer-songwriter whose lyrics are the most integral part of what I do and I talk to the audience and some of that is what makes it entertaining and thought-provoking - well, Robyn's the same." The table is turned a few hours later, and Hitchcock is asked why people should stay later to see Bragg. ``The tone is completely different. The timbre of Bill's performance is very different from mine. Bill's a lot tougher than me, he's a lot more outward- looking. He's more of an orator and I'm more of a spiritualist. He's more overtly left-wing ... but we're both leaders of the republic.'' Bragg and Hitchcock - two veteran English singer-songwriters - are on the road together, playing solo, and giving audiences two rather different takes on the world.. Bragg's is one of righteousness, compassion and left-wing activism; Hitchcock's is one of surrealism and fractured psychedelia. At least those would be the short answers to the where-do-they-come-from question. Aside from sharing a manager, the estim able Peter Jenner, who's done the job for Pink Floyd and the Clash as well, there is other common ground. ``We're both romantics and this tends to gets overlooked,'' says Hitchcock, ``because people think of Bill as Mr. Politics and me as Mr. Seafood.'' That is, Hitchcock writes much more about seafood than your average songwriter. Says Bragg: ``Robyn's been getting a bit more political and I've been getting a bit more free-associative.'' More seriously, Bragg says, ``When someone like Alanis Morissette is trying to be cutting edge, I think someone like Robyn and me coming through the country, we're a little bit more cutting edge. I think Alanis is afraid of me and Robyn because not only do we know what ironic means, but we use irony and mystify and encircle the audience.'' Bragg, 38, emerged during the mid-'80s as a solo performer - a folk/punk artist with a rough voice and a brash electric guitar sound, or as he once put it, ``I'm a one-man band who thinks he's the Clash.'' He's worked off and on in group settings over the years. During the late '80s, he co-founded England's rock 'n' socialism movement, Red Wedge, with ex-Jam singer Paul Weller. He found himself, quite happily, a magnet for the left wherever he played. ``It's very much a badge of honor,'' he says. ``We did a show in Tucson once and they were so radical - they were up for it. They were waiting for years for the opportunity to do this.'' If Bragg gets hecklers, they're often the type to yell, ``Provoke us, Billy!'' Bragg says when that happened once, he told the vendors to double the price of the T-shirts. Since the early '90s, he's kept a low profile, but for the decade preceding he was tireless: touring, recording, schooling himself, chatting politics with anyone and everyone, onstage and off. Bragg hates the term ``liberal,'' not for the same reason people in America might - ``In my country it's a slur because `liberal' is too right- wing.'' Bragg has a new album, ``William Bloke,'' his first in five years. Politics are woven into it. The opening song, ``From Red to Blue,'' addresses a former left-winger gone centrist. Sings Bragg: ``Where are the principles of the friend I thought I knew? /I guess you let them fade from red to blue.'' ``It's very important the album began with `Red to Blue,''' says Bragg, ``because if there's a time I could stop being political it probably would be now.... The Berlin Wall's come down, Reagan, Thatcher, Soviet Union, apartheid - all these things gone. So, it's much more difficult to focus the political message, which is why I've moved on to some difficult situations like [Northern] Ireland and growing old and staying political.'' Bragg - whose key songs include ``A New England,'' ``Sexuality,'' ``Between the Wars'' and ``Greetings from the New Brunette'' - didn't disappear during his musical sabbatical - he worked on documentaries, as a reporter?? for the BBC, and continued to write. Rather importantly, he got married to longtime friend Juliet /, fathered a son, Jake, and discovered an actual life. ``Before,'' he says, ``I didn't think I needed a life. But [as an artist] I got to the stage where I thought I was chasing my tail a bit. I needed a bit of a sabbatical. ``What made me sort of pick up the gauntlet again was that Juliet's son, Jamie, my godson, was about 6 and he walked into the kitchen one day and said to me: `I know you're on the telly and I know you play the guitar, but what do you actually do? You're always hanging around the kitchen. Mommy goes to work, Daddy goes to work, but you always seem to be reading the paper.' ``I realized obviously that my profile in the house - never mind the rest of the country and the world - was somewhat marginal.'' Hitchcock, 44, started his musical life as a solo acoustic artist, but came to cult fame with the Soft Boys during the mid-late 1970s playing wonderfully warped pop. After that, he played in group form as Robyn Hitchcock &theEgyptians and also solo, which is where he finds himself now, touring behind his latest album, ``Moss Elixir.'' (Violinist Deni Bonet joins him at times onstage.) Why is there no band? ``Well, why not? Rock music is a young person's game,'' says Hitchcock, ``and I find it very depressing when people carry on playing rock music. I hate middle-aged bands. I'd rather be 44 by myself than up there with a bunch of other men over 40. '' As to being in a band, ``I don't know how long you can go round with your legs tied together. If you do, then you have to start having very separate lives and even then it's a bit artificial - you have separate accounts and managers, and then you're poured into a communal dressing room for a photo session, then you have your own bit of the stage and then you go away.'' Hitchcock believes that he's ``tolerated'' in the music biz - ``I've got a good name.'' He'll never be a top pop star, but he'll always have his niche. Worst part of the job: ``The machinery actively encourages you to remain a kind of childish destructive ego. People are encouraged to go out being brats. You're not encouraged to grow up, to do all the adult things like accept responsibility.'' Best part of the job: ``Being a musician enables you to get into certain elevators and go up and down the social spine, to cut through classes, races and religions. You can be acceptable to people who are not your class, race, religion or even sexual orientation.'' Hitchcock, with his songs of, lobsters, wasps, Queen Elvis and men with light-bulb heads, wants to be perceived these days as less of a wacky eccentric. The perception, says Hitchcock, was that he was ``a colorful, smart person and people either loved me or loathed me as that clever shiny child. ... It was getting tiring and I couldn't be that anymore. I went through a lot of turbulent years, from '88 to '93. ... I finally grew up. Nothing too drastic. I just think there has been a really fundamental shift on this record.'' The songs on ``Moss Elixir '' are relatively pared down and more straightforward.. ``I don't think about songs in terms of what they're meant to represent, any more than someone goes fishing and they might take a look at the various salmon in their net, but I don't think they're gonna say, `Wow, I'm after a new kind of trout!' They just check them over to make sure they don't look poisonous and then thump them over the head and that's it.'' Hunting the great white song, aye? ``I do tend to think of it as slightly predatory,'' says Hitchcock. ``Either the song's hunting you or you're hunting the song. Either way, the song is somewhere you can't quite see it, somewhere in the opaque depths. You have to lure it out.'' This story ran on page d13 of the Boston Globe on 11/15/96. ------------------------------------- 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: 11/16/96 "In the topography of intellection, knowledge is ignorance surrounded by laughter." (Charles Fort)* ------------------------------------- ------------------------------ Date: Sat, 16 Nov 1996 11:20:57 -0500 From: sister ernestine Subject: three fourths of the megalopolis starting a review is always the hardest part. so i guess i'll just start at the beginning. seems like a reasonable thing, hm? i took wednesday afternoon off from work so i could drive down to washington. as bayard instructed, i walked up to state of the union around 6:15 and discovered a reggae band playing and a $3 cover. decided to wait outside since i thought i was a bit early and wasn't sure that anyone else would enjoy sitting in a smoky bar with a roots band playing. a few minutes later, doug walked up and then scott walked out of the bar where he had been sitting. after a while, about nine of us had gathered on the sidewalk and found ourselves hungry, but bayard-less. to make a long story short, we ended up going across the street to an ethiopian place (which apparently had not served a dinner in quite a long time), eventually found bayard (who decided to get to the 9:30 early instead of eating) and consumed. i'm sure you all care. ;) we walked to the 9:30 and arrived maybe ten minutes before robyn went on stage, a little bit after 8pm. his performance was generally good, but i was distracted by a number of things, and didn't really get into the show. this was the first time i had been to the new 9:30 and was dismayed by its similarity to my least favorite nyc club (irving plaza) and bugged by having to stand in such a large place (it's not *big*, but it's big enough that standing is burdensome since it is not rewarded by proximity). in any event, i enjoyed it as best i could but didn't really pay that close attention. the next night at the keswick in glenside was quite a bit different. i got to glenside about a hour before showtime and managed to find the party of kay at that little chinese restaurant. i arrived a wee bit too late to order dinner since the place was packed, but got my fill of tea and leftover lemon shrimp. (yum!) the time flew by quickly and we had to rush over the keswick and had been sitting for just a couple minutes when robyn went on. this show was probably the best technically of the three. robyn was really tight and appeared to be a good mood. here are the vitals: setlist: cynthia mask (played with the wrong pick, or so robyn claimed), balloon man (good audience response), i remember guilford (nice tune), feels like 1974 (rex called it rambling and that's spot-on in an okay way), de chirico street (deni appears, in a black dress), arms of love (absolutely stunning), egyptian cream (deni poofs, the cone returns and i blurt out, "the prince of cones!"), glass hotel (also quite stunning), i'm only you (complete with on-the-edge-of-des- truction solo which has some neat hammering on the neck), i'm only you (electric), you & oblivion (very likely my favorite of the newer songs), freeze. for the encore, we have she doesn't exist and listening to the higsons, the latter with deni. shirts: the one with orange hands, that looked like pumpkins for a while, during the main set. i don't recall what he had on during the encore. in the interest of getting home at a reasonable hour, i opted to leave a couple songs into billy's set and drove back to northern jersey. the beacon theatre in new york was last night. again, i got there just in time since i had to wait until meredith (the better half, significant other, whatever you call 'em these days) got home from work. we were rooked for parking, but at least we made it. *sigh* robyn came out a little bit after 8 and proceeded into a really rough and sloppy show, which seemed to mirror his mood. lots of goofing around and noodling during the solos which probably lost most of the bragg fans (certainly the ones sitting behind us). he was laughing at himself a fair amount of the time he was on stage. setlist: ghost ship, balloon man, wind cries mary, feels like 1974, (the human pumpkin girl appears and the princess of cones moves to center stage) de chirico street, filthy bird (really nice), let's go thundering (deni poofs), i'm only you (the solo goes places it has never gone before), glass hotel, (dons strat) i'm not me (*really* raunchy solo that never quite gets itself together), you and oblivion (replete with rat-pedelled solo), airscape (!), freeze. for the encore, i got a message for you (augh!), beautiful queen, and (with billy, who is more particpatory, but still shaky) mystery train. between sets, gary assa wandered over to say hi. he said he'll be rejoining the list the list sometime soon (if any of you care). i didn't get a chance to see any of the other nyc fegsters -- perhaps at the maxwell's shows in december -- as billy started pretty quickly and we left right after he finished since we were pooped. oh, during the main set, it was a black/white geometric patterned shirt and (i think) a leaf and branch type thing for the encore. woj ------------------------------ Date: Sat, 16 Nov 96 13:06:14 -0500 From: "T.L.R. III" Subject: keswick show/setlist it was great meeting all of the fegs who came out to the show! thanks to k for the tickets. . . here's a brief review of the keswick show: he said the spotlight was the star of bethlehem, then took a swig of what "igor had prepared" for him, then played (on acoustic): cynthia mask (like smoke underwater) he explained he used the wrong pick on that one (the hail mary instead of the baby jesus) balloon man (wished i had shot your horse) strapped on his harmonica and played: i don't remember guilford 1974 a blackish-clad deni hopped out and they played: dechirico street "next time you yearn to be a child remember back to the people who killed all your animals. this one is about painkillers." arms of love started to explain the next one about "the magical cream which can turn"--when people clapped in recognition he finished--"can turn you into a filing cabinet" egyptian cream--w/intense guitar work deni stepped off-- glass hotel w/nice delay work by grant showbiz. here he launched into a great monologue, part of which revealed that there were "a great many donkeys wearing wigs in the 1970's"--he said the monologue had nothing to do with: i'm only you (a memory that's way out of control) he started to strap on his electric, and some person shouted something--this same person had been yelling "queen of eyes!" earlier and robyn had ignored him. to whatever he yelled, robyn said, "did you say this (the guitar) looks like a handbag?" the guy repeated himself and robyn said "well, there are no cones on stage." (whoa-dje (woj) said they put an orange traffic cone on stage for deni, the human pumpkin girl, in dc) i am not me "igor" put a cone on stage, which sent robyn into a monologue (in thick transylvania accent) about how igor is always throwing his shoe at squashed cars. y&o, very intensely sung, then deni came back on for: freeze on the encore (standing ovation by a good portion of the audience) she doesn't exist, and listening to the higsons (w/deni, i think). i though it was wonderful, just too short. robyn apparently left immediately after the show--perhaps to get to ny for the demme film shoot? maybe? billy played a much longer set, to a very enthusiastic crowd. i abstain from stating my opinion. . .. when someone yelled "where's robyn" billy said he was on the road already and then talked about how "it gets to you" touring w/robyn--because of robyn being nonsensical, apparently, as billy poorly imitated listening to the higsons at this point. he also stated "anything w/a lucky number on it, robyn will go right up it"--referring to roads, tho he soon realized the possible other meanings. . . . did anyone tape it? be seeing you. . . . . .tom * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * "questions are a burden for others. answers are a prison for oneself."* * --village sign * *tom's web page--http://www.personal.psu.edu/users/t/l/tlr121 * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * ------------------------------ From: Critica@aol.com Date: Sat, 16 Nov 1996 18:12:06 -0500 Subject: fegs, go to the phones At the Beacon show last night, there were neon green slips of paper at the t-shirt booth that read as follows: ROBYN HITCHCOCK FANS If you would like to be part of the audience for a Robyn Hitchcock Performance Film to be shot in mid-December in New York City, call 212-388-8640 Between Monday, November 18 and Friday, November 22. This phone number will allow you to leave your name and number and you will be contacted with specific information. The audience will be selected on a first-come, first-served basis. THIS WILL BE A MID-WEEK DAYTIME CONCERT. *** The show last night was good. A setlist is coming, I'm sure, from some more diligent feg. I was seated between Robyn/Billy hybrid fans like myself, so there was no trouble, but I did hear a guy in the lobby say "I'm not too anxious to hear this guy (Robyn); I mean, he's okay, but..." My favorite Robynism of the evening, bellowed just before "I Am Not Me": "What was the kindly old lady made of? FUCKASS ROCK 'N' ROLL!!!" Ta ta, Becky ------------------------------ Date: Sun, 17 Nov 1996 00:41:22 +0100 From: Sebastian Hagedorn Subject: Hamburg interview (finally!) So, finally, here is the transcription of the interview I conducted with Robyn Hitchcock on October, 6 at the Knust in Hamburg. A few words ahead: the interview was conducted by three people, namely me, my friend Elena from M=FCnster, and a girl called Frauke from Hamburg. Elena and Frauke both have alternative radio shows, whereas I just tagged along as a fan. In most cases I won=B9t mark who of the interviewers said what, but instead I=B9m only going to separate between Robyn (R) and us (U). U:=09Just to break the ice, what we=B9re most curious about is a rumor we heard that Jonathan Demme is going to do a movie with you, about you? R:=09Yeah, well, what it is it=B9s me in concert in New York. Hopefully som= e time this autumn. And he=B9ll film me playing, we=B9re playing a show, really, on my own but also with a violin player, Deni, who plays on my new album. And Morris Windsor who used to be in the Soft Boys and the Egyptians, doing a bit of backing vocals, but very simple. He saw me doing a gig in New York quite near where he lives last year and so we sort of got in touch. I think he=B9d been following me for awhile, I think he=B9s been monitoring me. Anyway, he=B9s got the time, we found the distributors, so it will come out, hopefully as an art house movie, and we=B9ll be selling it as a video, get it on telly and stuff. It=B9ll be a live album Warner Bros. will release, at least in the States, maybe they=B9ll put it out here as well. U:=09Do you already know where it will happen, what club in New York? R:=09It=B9s gonna happen at a location that they haven=B9t disclosed yet. I= t=B9s not gonna be in a club, it=B9s gonna be in a shop, a storefront. U:=09So not at Maxwell=B9s. R:=09No, not at Maxwell=B9s. Have you been to Maxwell=B9s? U:=09Yeah. (two of us) R:=09Geez! It=B9s a quite a good club. I mean, the first time I played ther= e was 1980. I think most of the other people who played there in 1980 are now famous or dead, or have become lawyers. I=B9m one of the few people who still actually play Maxwell=B9s, from that year. U:=09And Jonathan Demme has done a video there before. R:=09Did the Feelies. Yeah, well this is not, it=B9s gonna be a whole show. So, I=B9m looking forward to it. Cause he likes live performance, you know, he doesn=B9t like lip-syncing and all that sort of stuff. He likes to actually get the performer doing it. I don=B9t like rock videos per se, but I really approve of the way he works. I think it=B9s great, so I=B9m sure if anybody can make it look good, Jonathan will (??). So, hopefully that=B9ll be quite soon. U:=09So it=B9s supposed to be only one show and that=B9s it, not taking cut= s from several shows? R:=09Well, yeah, we=B9ll do two shows or maybe even three, but we=B9ll make= it look like one. You won=B9t see the join. They=B9ll pan over someone in the audience and they=B9ll pan back, and you won=B9t know =B9cause I=B9ll be we= aring the same shirt. I=B9m having some extra identical shirts made. U (attempting to joke):=09That=B9s what you tell us! R (did he get it?):=09Well, that=B9s what I tell you, (pause) because someone told me to do that, you know. I=B9ll also have to play the same songs for each set, which is a drag. I might throw a few songs in for the last set. U:=09So why did it take so long for the new album to come out? R:=09Well, I had to write the songs. And then I had to throw away the songs I wasn=B9t going to use. And that takes time. You know, songs aren=B9= t like fast food, you can=B9t just sort of... Okay, here come twelve good songs, you know, I mean it takes awhile. I wanted to have so many strong materials. And we had to do the back catalog thing, and that took awhile. A lot of old material came out on Rhino in America. I had to bake the tapes in some cases, you have to put the tapes in an oven, because they... all that stuff flakes off, yeah, like liquorice, which is...all this black grunge is on it. And we had to find the tapes, find the tape machines that would work, today, because the old tape machines don=B9t do the work so well. They don=B9t make them anymore, you know. Some other things I recorded, like the first solo album, they just don=B9t have those machines =AD quarter-inch four-tracks, hard to find. So that took awhile, and then recording this lot, and then I had to get a deal for it as well. So, I started recording it quite a long time ago, in 94, it=B9s only three years I think, since =B3Respect=B2. U:=09Your view of the songs seems to change over time, because at one point the new album was supposed to be called =B3Surfer Ghost=B2, and then apparently you changed your mind and it didn=B9t even end up on the album! R:=09That=B9s what I mean, you need to throw the songs out. U:=09Yeah, but now you seem to play it more =AD I heard, on the Internet... R:=09Play it more? U:=09Yeah, recently at shows, you=B9ve been playing it? R:=09Oh! I played it *once*. U:=09OK. So much for that rumor... R:=09News travels a bit too fast. Yes, I played it once. I sang it with Morris Windsor in London, but it wasn=B9t very good. So I=B9m taking it off again. I mean I was going to do it for the Demme film, but I think I=B9ll... There=B9s a recording of it lying around somewhere, which will probably come out one day, but it didn=B9t fit with the album. There=B9s all sorts o= f things. =B3Wide Open Star=B2 didn=B9t make it onto the album... U:=09Yeah, but that=B9s on =B3Mossy Liquor=B2 at least. R:=09=8AI don=B9t know what else, =B3Statue With A Walkman=B2, that=B9s gon= na be on the live one, =B3Each Of Her Silver Wands=B2 is gonna be on the live one. A= t least I think it is, yeah. See, when you got the first six songs you write, you think =B3Well, I=B9ve got six songs, so that=B9s the start=B2, s= o you tell everybody they=B9re gonna be on the album. You know, well, if anyone asks, you know, when you don=B9t tell the milkman or the postman. Wouldn=B9= t tell your mother, you know. But if anyone=B9s interested, you=B9re quite likely to tell them. Then you got twelve songs, so you maybe think =B3I got an album=B9s worth=B2, then you got 18, so you can throw six away, by the end you=B9ve got 30 and you throw away 18 of them. Or you should do. I think throwing songs away is a very important part of songwriting.=20 U:=09Yeah, but sometimes songs turn up afterwards. Because I think =B3Alright, Yeah=B2 was written during =B3Perspex Island=B2 and at *that* t= ime you thought the song was weak=8A R:=09You=B9re right. Do you know where I wrote it? U:=09No, I don=B9t. R:=09Okay, I started it in Washington and then I finished it in the Isle of Wight. (Editor=B9s Note: do you really say *in* and not *on*??) Well, I didn=B9t think it was very good. I didn=B9t think it ever really worked wit= h the Egyptians. It wasn=B9t a good Egyptians song. But then I thought it might sound better with Tim=B9s band=8A U:=09=8Awith Homer=8A R:=09=8Abut Tim, who=B9s been working with=8A oh, you know about Homer. Er = hat drei Jungen, M=E4nner, englische und sie hei=DFen Homer. (Robyn=B9s trying = to speak German now) Und sie spielen Pop-Rock. U:=09How did you come to work with him? R:=09Oh, he=B9s a friend, it=B9s just=8A You should never do business with = your friends, but=8A actually I met him, oddly enough, I met him through the R.E.M. connection, believe it or not. I was staying with Jefferson [Holt], who used to manage R.E.M., and Jefferson=B9s old girlfriend Jennifer was going out with Tim. She=B9s Tim=B9s manager now, Jennifer Blay[?], she lives in Britain. And as I met Tim in Athens, New Year=B9s Day 1993, and then we=8A but he does most things, he does a lot of stuff, he writes songs, looks after our cat when we=B9re away. So Tim=B9s band, Homer, is playing =B3Alright, Yeah=B2 on the record, which is very, you know, pop rock. U:=09But still, it=B9s the song that sounds the most like the Egyptians. R:=09Well, I think it=B9s like the Egyptians in=8A It=B9s a bit more straightforward than the Egyptians could ever really be. The Egyptians were very good, very artistic players. But they didn=B9t really like playing straightforward rock music, they=8A I mean when I say =B3they=B2 I mean Morris=8A Morris was never really a rock drummer, he was a sort of jazz decorational art drummer, and Andy was quite an aggressive bass player, but he was still=8A his playing was full of loops and runs and things, and, you know, straightahead playing=8A I think it was too straightahead for the Egyptians, that song. I mean it=B9s not sound like =B3So You Think You=B9re In Love=B2 or something, but even that wasn=B9t a = good Egyptians song, that could=B9ve been played by a lot of session men. U:=09Do you really think so?? R:=09Yeah, Paul Fox, the producer, wanted to do that one. And I think Andy thought it was too much of pastiche, and I think he was right, actually. So, you know, Homer=B9s a good beat group, and now I just did a tour in Britain, of just playing around little clubs with Homer opening up and then they backing me, you know, they backing me for some songs. Doing old songs like =B3The Cars She Used To Drive=B2, things I hadn=B9t played f= or years, =B3Acid Bird=B2, =B3Queen Of Eyes=B2. U:=09So you=B9re living in Britain now? R:=09Well, I did live in Washington for eight months. Washington made me appreciate London for the first time in my life, I=B9d never liked London. But after Washington, DC London just seems like paradise. I was in Germany in August. I was in Hamburg and Cologne. U:=09What did you do there? R:=09I talked to people. U:=09How did this tour come about? R:=09That=B9s easy, because I went to Cologne and Hamburg. My manager, Peter, over there, suggested to Warner Bros. that I did a few gigs, so I=B9m doing a few gigs (laughs). U:=09So this is *the* tour of Germany? R:=09No, this is a little one, to sort of=8A I don=B9t know, I have no ide= a what it is. It=B9s three appearances, then maybe I=B9ll do some more next year. The problem with working in Europe, it tends to be, with me, that it=B9s never consistent, it hasn=B9t been in the past. I mean I play in Germany every five years and then forget about it, and it forgets about me=8A U:=09=8Aand even that seems to be half-hearted only! R:=09No, I don=B9t think we played half-heartedly, maybe they weren=B9t promoted properly, you know. So I=B9m reaching out with a big effort to get to play. I mean some places like Spain, you always get sent to Spain, but I love the food and the buildings. Unfortunately there aren=B9t so many buildings left in Germany now. But Spain and Italy particularly have got a lot of nice buildings. I like words, so I like working in Europe because of the different languages. I can say =B3bat=B2 in five languages. U:=09Did you do the translation of =B3Alright, Yeah=B2 to Swedish yourself? R:=09No, Tim did that. I don=B9t know much Swedish, I don=B9t know any Swedish. I know little bits of German and French and Italian and Spanish, so that=B9s fun (fine?). I can ask where the bat is in five languages. [he demonstrates it, but we have to correct his German, especially the gender of =B3Fledermaus=B2 - it=B9s feminine=8A] U:=09How did you get to know Calvin Johnson? R:=09Calvin Johnson? You are collectors, aren=B9t you? Calvin I met through my friend Liz in San Francisco who used to run a record shop. I said =B3Can you think of anyone I could do a 7=B2-single with, quickly?=B2, caus= e I hadn=B9t had any records out, I just wanted to put out a record fast, on vinyl, I hadn=B9t had any vinyl for ages. And then she said =B3Try Calvin a= t K=B2, so I rang him up and we went up to Olympia and I did three songs in a day. One and a half songs upstairs and then they started making supper, so we moved down to the basement and finished it. So, three songs in a day, which is how I like to work, on eight-track. I=B9m supposed to be making a mono record with him some time, Warner Bros. is allowing me to continue to do stuff with him, so I=B9m gonna put out a mono vinyl record, possibly a tribute to Jimi Hendrix. U:=09Do you sell the /=B2 tonight? R:=09I don=B9t sell anything tonight, actually, but you can get it from K, you know, whatever those collector=B9s channels are, that=B9s what you have to go through. U:=09For our radio show we=B9d like to play =B3The Devil=B9s Radio=B2 and = =B3The Speed Of Things=B2=8A R:=09Oh, really? =B3Speed Of Things=B2! (surprised) U:=09Maybe you can tell me how you came up with those songs? R:=09=B3Speed Of Things=B2 is based on some old folk songs. I can=B9t remem= ber what they are. It=B9s sort of a synthesis of a couple of old folk melodies, I think. I wrote it on a piece of paper, by a caf=E9 outdoors on a sunny afternoon in April, just after the Conservatives had got in yet again. And I had a hangover, I had a sort of panic attack, you know, like when you=B9ve had too much to drink and you=B9re tired, so I was feeling very jittery. My father had just died, I think, so I was very aware of the speed of things. =B3The Devil=B9s Radio=B2, I started that on = a train, I wrote one version and threw away, and then I must=B9ve made up the other one. It=B9s about what it says it=B9s about, really. But I=B9m gl= ad you like them. I think my favorite=B9s =B3De Chirico Street=B2, actually. U:=09I think my favorite is =B3Heliotrope=B2. R:=09That=B9s the best tune. =B3De Chirico Street=B2 is an interesting piec= e of music, it=B9s got my friend Otis =B3Horns=B2 Fletcher playing saxophone. He also comes to supper with Tim, I mean, yeah, I was at school with him. He=B9s my oldest friend. U:=09I thought you were fed up with saxophones after =B3Groovy Decay=B2. R:=09I was. But Fletcher isn=B9t an ordinary saxophone player. I don=B9t li= ke the way saxophones are used conventionally, and I=B9ve never got into jazz. But also Ntshuks Bonga, he plays on =B3Devil=B9s Radio=B2, he=B9s a v= ery unhinged sax player. He doesn=B9t play=8A, I suppose you can say he=B9s a jazzer, you know. (Tim is playing guitar in the background and has just played the intro of R.E.M.=B9s =B3Radio Song=B2, so Robyn is doing a Stipey imitation singin= g =B3The world is collapsing around my ears=B2) Emm, yeah, so I think, you know, sax players who don=B9t play the sax in an ordinary way, I mean Fletcher never practices, he refuses to practice at any point, unless I=B9m gonna do a gig and I ask him to come and play on a couple of tracks. But he=B9s so ingenious, he writes out these unbearably close harmonies, you know, we had six tracks left on the tape, so he filled up those six tracks. He could=B9ve filled more if we had it. Well, I=B9m not going to use him on the live album, but I=B9m gonna use him on the next record, just to keep him playing. U:=09He doesn=B9t do anything else? R:=09No, no, he makes things, he sort of cuts..., you know, he measures pieces of string and writes up notes about wine and comes round with rare cheeses. He=B9s=8A Fletcher. Fletcher functions in his own way. He wrote a piece of music called =B3The Luminous Sofa=B2, and he did an arrangement of one of my songs called =B3Egyptian Cream=B2 for avantgarde saxophones. I don=B9t think I have a tape of it anymore, but it was incredible. That=B9s the most interesting cover version I=B9ve ever heard o= f my stuff. So, yeah, you should start a James Fletcher Appreciation Society in Dortmund, I should send you a photograph of him, actually. He photocopied himself once. It was pretty scary, he put his face=8A, he ran it over the machine, so it looked like those ??? people, people they dig up that have been dead for 2000 years and their skin goes silvery and slack. So Fletcher, yeah, he=B9s good. U:=09Was music always your way of expressing yourself? Because I read your story, the =B3Moss Elixir=B2 story, and I really liked it, so I thought maybe writing is another way of expressing yourself without connecting it with music. R:=09 No, when I started, I mean, I forced myself to become a musician, I didn=B9t have instinctive musical talent. But I always used to write and draw. Now I don=B9t draw much, but I paint. I think I=B9m not very good at painting, but I really enjoy it. So I=B9m hoping to get a book of short stories out, next year, someone=B9s actually offering me a publishing deal, incredibly. So when I=B9m finished with the Jonathan Demme thing, I=B9m gonna finish some short stories and there will be, however long it takes me, it might take two years, but there will be a book some time. And I=B9m planning to have my paintings made into a shirt. Multiple images on them. Rather than exhibiting them, you=B9ll be able to buy them as shirts. That=B9s the plan, anyway. U:=09I really liked your =B3Eye=B2 cover artwork. You don=B9t like that? R:=09It=B9s alright. U:=09I think it=B9s a perfect album. We really like to listen to your new album in a row, all the twelve songs. Do you have any favorite albums where you like the whole thing, cover artwork and all the songs without an exception=8A R:=09=8AI think =B3Fegmania=B2 is pretty good. U:=09From other bands. R:=09From other people, oh. Well, I don=B9t know, I always thought =B3Highw= ay 61=B2 was good. =B3Avalon=B2 by Roxy Music, I don=B9t know, packaging, I me= an packaging got more exciting, at one point the artwork got more exciting than the music. Generally, if I like an album, the artwork=B9s good. I like most of the tracks on the first Belly album. Actually the artwork=B9s OK, it=B9s a very 4AD sort of stuff, very solarized. I don=B9t know, really= ------------------------------ Date: Sun, 17 Nov 1996 01:09:28 +0100 From: Sebastian Hagedorn Subject: Sorry, here's the second half (I hope) U:=09From other bands. R:=09From other people, oh. Well, I don=B9t know, I always thought =B3Highw= ay 61=B2 was good. =B3Avalon=B2 by Roxy Music, I don=B9t know, packaging, I me= an packaging got more exciting, at one point the artwork got more exciting than the music. Generally, if I like an album, the artwork=B9s good. I like most of the tracks on the first Belly album. Actually the artwork=B9s OK, it=B9s a very 4AD sort of stuff, very solarized. I don=B9t know, really= ------------------------------ From: Gaseous Clay Subject: Re: Finding Mossy Liquor Date: Sat, 16 Nov 1996 16:55:03 -0800 At 17:45 08.11.96 -0700, Miranda Gill wrote: >It could be that I haven't been looking hard enough or that nobody else in >Phoenix has ever heard of or likes Robyn, but I have been wildly >unsuccessful in finding Mossy Liquor (or even finding anyone whose heard >of it). I'm hoping someone knows (if it is still available in the states) >where I can find it mail order or something.... I know that it is listed amongst Mrs. Wafflehead's treasures. Check the Web page at: Or write to: Mrs. Wafflehead PO Box 1854 London W10 4ZA United Kingdom Sorry, I don't have the US address handy. Bye, --g "If it feels good, do it. Just don't forget your checkbook." --Rita Greene ************************************************************************ * Glen E. Uber glen@metro.net http://metro.net/glen/ * ************************************************************************ Albums of the Week (11 Nov - 17 Nov): 'Help' (UK version), The Beatles 'Trout Mask Replica', Captain Beefheart 'Armed Forces', Elvis Costello 'Mossy Liquor', Robyn Hitchcock 'Dream', Nitty Gritty Dirt Band ------------------------------ Date: Sat, 16 Nov 1996 21:08:42 -0500 From: MichaelHooker Subject: beacon show hello, i found the show at the beacon to be most enjoyable. i think Robyn did a great job , given the limited amount of time he had to work with. The song selection was excellent, and his playing was energenic and superb. i'm no musician, but i was absolutely amazed at the speed and frenetic movements of his fingers! they looked like they were 10 inches long, and flying. i may be in a minority, but it was nice to be able to sit in a comfortable seat,relax, and enjoy, rather than stand for hours in a club, shoulder to shoulder . can anyone tell me what the first songs were? i got stuck in traffic, didnt get to the show till DeChirico Street. i am dying with curiousity to know what i missed. (sniff) as far as billy bragg goes, i also enjoyed him alot. i had no problem with him goofing on our govt., our customs, etc. he got real preachy at the end though. i left during his encore. i couldnt take his strident "recruiting" for his ideals. it wasnt his ideals that turned me off, just his long windedness at the end. i have no problem with his politics. as long as there are jerk offs like Newt and Co., there will be guys like bragg on the other side. its just natural, and i believe, healthy. Finally, did anyone make a tape? i felt like a million bucks today, singing , whistling, humming all day ( at work!) i sure would like to hear the show again. still humming, Mike Hooker ------------------------------ From: RxBroome@aol.com Date: Sat, 16 Nov 1996 23:54:51 -0500 Subject: Rex Returns to His Evil Ways: A Discourse in Three Parts I: Julian Cope's "Mystery Train" This was one of the funniest things I've read in weeks. I'm trying to restrain myself from inventing a game based around the concept of "Songwriters Least Likely to Have Written 'Mystery Train'". I have, thus far, succeeded. II: Thankfully Averted Anti- Bragg Flame War I'm ever so grateful that this went down while I wasn't looking. Like a lot of you, I'm nonplussed by the conflict between Robyn and Billy fans, but then I'm a longtime cheerleader for both of them. As such I was annoyed at the show by Billy fans making me feel like Robyn wasn't worth listening to, but no less annoyed by those of you on the list who couldn't help lacing even your "be respectful" admonitions with cheap shots at Billy. Y'know, there was a time when the Ven Diagram showing the Intersection of the Group of Billy Bragg Fans with the Group of Robyn Hitchcock fans would have reflected a lot more crossover. That was back before the dark times... before the Empire. Specifically, back when both Robyn and Billy were more popular... here's my take on it (nb. this is a purely US perspective...) The zenith of Robyn's popularity was around 1991 and 1992, with "Perspex" and the single, you know, "Love Is a Terrible Thing to Waste" or whatever. That's about when Billy came out with the album that had that big dancefloor smash "Sexual Healing". Both were idiosyncratic British songwriters poised on the brink of breakthroughs. I daresay that they then had a very common fanbase composed of those who'd been following both of 'em as College Radio idols and the more mainstream people who found their freak flags raising in particularly Anglophilic ways. (What went wrong? Was it Nirvana? Well, yes, it was, sort of, but more like Pearl Jam. I remember this distinctly as a time during which I'd completely given up on American rock. The only Nirvana song I'd ever heard was "Sliver" and, although they turned out to be much more, I had initially written them off as sub-par Dinosaur Jr. knockoffs and watched with utter detachment as they went supernova. I was at the time preoccupied with British rock, particularly Ride's "Nowhere", which is at least as good as "Nevermind", and for all the same reasons. Anyhow, in the wake of Nirvana, there was all this press about who the "next Nirvana" would be. Candidates included a skronky little band I'd seen many times called Mudhoney, and another band I'd never heard of called Pearl Jam. In my detached way, I thought it might be interesting if Mudhoney determined the future of American music, assuming Pearl Jam to be somewhat similar. Then I saw the video for "Alive" and my jaw hit the floor-- fucking AC/DC with Rasta hats was supposed to be the salvation of alternative music? But that's exactly the kind of crass commercial shit that shut the Brits out of the American market-- so long, Robyn; adios, Mr. Bragg. Capitalism is killing music indeed. The commercial casualties of this phenomenon were innumerable. But I digress like a motherfucker.) Since then, there have been no big corporate promotional pushes for either Robyn or Billy. In 1991, if you were into what was then called "alternative" music, you knew who both of them were. Today, you'll only become a fan of EITHER on the basis of a friend's recommendation. Meaning that, if you hang with politically-oriented leftist extroverts, you're likely to be introduced to Billy Bragg, while if you hang out with morose aquatically-oriented reclusive introverts (AND WHO DOESN'T?) you might be introduced to Robyn. Which I think is both why Billy's headlining this tour and why his fans are more vocal than us Fegs. In 1991, I'd bet Robyn had more devoted fans than Billy, and I'm betting that record sales figures would bear me out. But Billy's fans are by definition activists and Robyn's fans identify with his idiosyncracy and indivuidulism. Whatever. I'll close by saying something that's a) only tangentially related and b) will hopefully get me in lots of trouble, as I'm itchin' for a fight, which is this: I don't understand why conservative people would ever like rock and roll at all. Which is not to say that all leftists should necessarily like Billy Bragg, but I have very involved theories to back up my general thesis here, so bring it on, fuckas. III: Kula Shaker I must agree that "Tattva" is the most slammin' thing to hit the radio in quite some time, but the LP is a disappointment. There's one other great track which is likewise Hindu in nature, and a few other okay tracks, but there's lots of filler and one embarassing Stone Roses lift as well as a lot of '70's -esque dreck including a Grand Funk-style tribute to Jerrry Garcia entitled "Grateful When You're Dead / Jerry Was There" which suspiciously shares both its subject matter and two-part structure with Camper Van Beethoven's "We Saw Jerry's Daughter / Surprise Truck" (yes, my affinity for run-on sentences remains undiminished). Still, the band is promising and I'll reserve judgment until I see 'em live, or get some feedback from others who have done so. Volunteers? Back with a vengeance aussi, Rex ------------------------------ Date: Sat, 16 Nov 1996 23:17:03 -0800 (PST) From: "Dot, the Itchy God." Subject: Re: Rex Returns to His Evil Ways: A Discourse in Three Parts When rex is hot, he is *hot*, and usually says something like this... >>I'll close by saying something that's a) only tangentially >>related and b) will hopefully get me in lots of trouble, as I'm >>itchin' for a fight, which is this: I don't understand why >>conservative people would ever like rock and roll at all. Which is >>not to say that all leftists should necessarily like Billy Bragg, >>but I have very involved theories to back up my general thesis here, >>so bring it on, fuckas. o.k. can't disagree with rex here for the most part. but, in my mind does pop up that whole modern/post-modern debate. which i think could be applied to tastes in music, if you were to look at social structures as well. but, will i say anything more about this? probably not, because with school and all that i have enough semi-realistic matters at hand. suck on post-modernism, .chris ------------------------------ Date: Sun, 17 Nov 1996 11:19:25 +0100 From: Sebastian Hagedorn Subject: Interview also on website Uff, the mailing gets through completely if I mail it to myself. I haven't yet received the version I mailed to Fegmaniax, so I'm not sure if it's worked this time. Anyway, if it doesn't, you might as well read the interview on my website: http://www.spinfo.uni-koeln.de/~hgd/Hitchcock/Interview.html Enjoy! A setlist is to follow, btw. Greetings, Sebastian -- Sebastian Hagedorn Cologne University, Germany Kempener Str. 66, D-50733 Koeln Hagedorn@spinfo.uni-koeln.de or shagedorn@novaidea.com http://www.spinfo.uni-koeln.de/~hgd/ ------------------------------ Date: Sun, 17 Nov 1996 07:44:47 -0500 From: Alex Tanter Subject: Boston show Don't ask for a set list--enough have been given over the last month that I don't think it matters so I didn't keep one! He opened, I swear he came out 10 mins early, with a very slow "Balloon Man." He looked thin and trim, who ever thought he looks like he's put on weight must have been sitting a long way away! He was wearing a yellow shirt with blue lizards and later changed into the white/black polka dots standby. Deni was very good, obviously likes playing with RH, obviously no romantic thing going on with them. It was nice to see a man and a woman doing a job together, enjoying it without ties. Robyn was in fine form, lots of banter and very funny jokes. ( something like this: "I see FNX [radio station sponsoring show] hung their banner here. Must mean Billy and I are in heavy rotation.") Robyn seemed to enjoy himself and Billy came out for a great rendition of "Higgsons" for the final song of the set. BB didn't know the song so RH sang him the chord changes. We were going to wait to speak to Robyn but the club was so packed (lots of people came in for BB towards the end of Robyn's set) we couldn't even get close to the end of the bar where we expected Robyn would be. We'll try to talk to him when he comes out here in 3 weeks. We didn't hang around for much of BB. He sounded pretty good but, in the first 20 mins of his set, did more preaching than singing and for me, it was funny at first but then turned into a turn-off. I don't mind political commentary but let him become an American citizen and then tell me how I should run my country. I don't think BB is a bad guy or anything, but after listening to Robyn for about 75 mins, I wasn't in the mood!! Marcy ------------------------------ From: SGOCELTIC@aol.com Date: Sun, 17 Nov 1996 12:46:57 -0500 Subject: Re: Feg Digest V4 #230 'allo fegs, -my second ever posting, -felt like filling you in on last night's show in Boston for any of ye not present :) Robyn was in great form....seemed in great humour,-I think he likes Avalon as a gig. Someone gave him a traffic cone during the show, and he definitely warmed up to it, -commenting that next tour he would'nt have t-shirts....just black and white painted traffic cones. (speaking of t-shirts...-the only Robyn one I found for sale was really lame, -dark green with upside down duck outline on front, -his name on back...-maybe I'll bid on doing a shirt for him next time:)....anyone have good ideas for a nifty Hitchcock shirt design?) Anyway, -his set was very short ....and dwarfed by Billy's....The gig seemed to be set up with Billy as top man, -and he did get a lot more crowd response and attention. They played "listening to the Higsons" together as Robyn's encore, -and they genuinely seemed to be v. comfortable with each other after all these weeks. Somehow they're still chalk and cheese to me though...... Billy's show was good , -his election rants were pretty funny, -does kind of love himself a bit though doesn't he?;) Oh, -nearly forgot, -went next door to a club called AXIS sfter the gig, -and upstairs where we were, -a door opened and Robyn came in and hung around for a while with some people, -tall bastard ain't he?:) And the guy really needs afew new shirts... I respectfully didn't go near him, -it was just fun to see him milling around the room full of people who didn't know him, and didn't wonder.... Anyone going to the solo gig at the Iron Horse in Dec.? Adios, Sean ------------------------------ From: TchdnJesus@aol.com Date: Sun, 17 Nov 1996 16:31:44 -0500 Subject: Re: Rude In a message dated 96-11-15 18:17:04 EST, glen@metro.net writes: >At 13:44 15.11.96 -0700, E.B. wrote: > >>Well, the third one (according to Bragg) was "Manchester Fucking United." >>'Twas a joke, son.... (one lost on us Americans, I fear) > >I suppose it is similar to Bay Area fans who refer to that team in San Fran >as the "Forty Fuckin' Niners". > >I myself prefer the "Oakland Fucking Raiders". considering the scam al davis has managed to pull, shouldn't that be raiders fucking (over) oakland? ---------------------------------------------------------------------------- The End of this Fegmaniax Digest. *sob* .