From: owner-fegmaniax-digest@smoe.org (fegmaniax-digest) To: fegmaniax-digest@smoe.org Subject: fegmaniax-digest V7 #225 Reply-To: fegmaniax@smoe.org Sender: owner-fegmaniax-digest@smoe.org Errors-To: owner-fegmaniax-digest@smoe.org Precedence: bulk fegmaniax-digest Tuesday, June 16 1998 Volume 07 : Number 225 Today's Subjects: ----------------- Re: a number of remarkably well-organized remarks [Gregory Stuart Shell <] Re: Ram's Head [anything like this ] Magazines, etc. [JH3 ] Permatree ["Major Woody Hardon" ] Re: Permatree [Viccicraig@aol.com] Re: a number of remarkably well-orificed remarks [Eb ] ---------------------------------------------------------------------- Date: Tue, 16 Jun 1998 13:38:58 -0500 (CDT) From: Gregory Stuart Shell Subject: Re: a number of remarkably well-organized remarks > To make matters worse, we were forced to listen to 38 Special's "The Boys > Are Back In Town" three times while we waited! (yes, I am now convinced > that NOTHING can kill the Quail!!) But once Shane started, it was great, Isn't TBABIT a Thin Lizzy song? I have never heard a 38 Special version, which is probably a good thing. Regards, Gregory S. Shell Subversive Specialist System Analyst ------------------------------ Date: Tue, 16 Jun 1998 15:06:19 -0400 (EDT) From: anything like this Subject: Re: Ram's Head > [...] > > I was the one downing the huge wheel of brie as he began "Cheese > Alarm" --perfect accompaniment to my 1/2 pint of stout (tiny > glasses there at the Ram's Head, boo!) ...and not the best I've > tasted, but hey, there was a lot of other stuff to crow about. > [...] > > Maybe I shoulda met up with you guys, my other friends got > separated from Ronda and I---ended up at another table. The two > poor souls at our table never said "boo" the whole night, and > look eeerily like rabid trekkies! (no flames, I like Star Trek, > but there is a limit) Er, that would be me (white t-shirt) and my friend Francesco (glasses). I did, in fact, comment on your brie, which is only appropriate for a Robyn show, I guess. For that matter, I may be shy, but I'm no trekkie, and I wasn't sure how far to press an acquaintance that started with us kicking your friends out of our seats... I was really hoping that there would be some obvious group of feglisters, and that I could walk up and introduce myself, but nothing jumped out at me. It occurred to me after the show that it is quite likely that I could have met Bayard, at least, by going back to where the mike stands were, but it was too late at that point. Next time I'll bring my brain defogger with me... On the bright side, I've dragged Francesco to several of these RH shows now, and this was the first one that he really seemed to enjoy. So, maybe another convert to the cause. I quite enjoyed the show myself, but, then, I'm already a fan. Robyn seemed loose and in good spirits, and his voice sounded great, although he mentioned a couple of times that couldn't do "Glass Hotel" because his voice wasn't in shape for the high notes. Maybe next time johnj ------------------------------ Date: Tue, 16 Jun 1998 14:11:12 -0500 (CDT) From: JH3 Subject: Magazines, etc. Chris wrote: >Can anyone recommend a good music magazine? I've been >trying to find something that will have coverage on >bands who aren't your typical top 40 alternative rock >acts......Anyone have any suggestions? (Anyone >remember Creem or Trouser Press? Those were good magazines.) I'm surprised nobody has recommended The Big Takeover yet - I know there are some other subscribers on this list. It tends to be slanted a bit toward indie, post-punk and neo-psychedelic bands, but it's very well-written and the interviews are almost always interesting, even if you're not all that into the artist being interviewed. It only comes out twice a year, but each issue is at least 200 pages of small print. And there are never any articles about social trends, fashion, or how to perform better sexually (unless that happens to be what one of the interviewees wants to talk about). It's really more of a glorified omnibus fanzine in a way, only much, much bigger. And better, generally speaking. (Admittedly, Robyn has only been interviewed twice so far, in Issues #31 and #41...) It's $18 for 4 issues over two years. So just send an e-mail to jrabid@aol.com or go to http://www.members.aol.com/bigtake. Don't tell him I sent you, though. >.chris (who would love to see some reviews of the >Nick Lowe shows from list members I'm driving to Chicago tonight to see him... Should be no problem. Bayard writes: >The between-song humor was outstanding. Holmes >and Watson made several appearances-- I thought >of JH3 and his Holmes parodies. So, what sort of Holmes & Watson references did he make? (I guess I could wait for the tape, if I ever manage to score a copy...) Hmmm, if I thought there was any chance he might've been reading my stuff, I would have inserted some Robyn references in there just to freak him out a bit. Hey, maybe it's not too late! John Hedges III, Esq, K.F.C. ------------------------------ Date: Tue, 16 Jun 1998 12:28:53 -0700 From: "Major Woody Hardon" Subject: Permatree Bayard dixit: > What I propose: a permanent tape tree structure which can be posted > on the web, so everyone always knows who they're getting tapes from, > and who they're sending tapes to. Best of all, it pretty much sets > you up to get tapes in your mailbox automatically for life! I'd be > willing to set up the structure if it means not having to do it > again for every great tape that comes along. > What a brilliant effin idea! > So what I'm saying is: if you have any sort of DAT, minidisc, cdr, > 4-head cassette, two VCR's, or whatever, and you want to be the > first to get all the best shows automatically, and you're willing to > make copies for X number of fegs (let me know how many), write me. > I've never actually been a part of any tape tree -- I've always gotten my tapes from Eddie Tews. I'd like to get involved with this, though. > Even if you just have average cassette decks, you can still be a > 2nd-level branch (if the tree grows that big.) I have a very nice 4 head double cassette deck and two four-head VHS players. I could probably do 5 or 6 copies of each tape. To the fegs I owe tapes (Luther, David Baker, Tom...). You have to know that I am an incurable procrastinator. I plan to do a mass mailing before Independence Day. I'll send all of you private notes regarding each of your goodies. Also, woj's idea of digitizing the hard-to-find songs is a great idear. The question is: How would we decide on a definitive version if more than one exists? That's all for now! - -g- n.p. 10cc - _How Dare You!_ - ----------==========**********O**********==========--------- Glen Uber Email: uberg@sonic.net ICQ UIN: 13311304 Web: http://www.sonic.net/~uberg "Without deviation from the norm, progress is not possible." --Frank Zappa - ----------==========**********O**********==========--------- ------------------------------ Date: Tue, 16 Jun 1998 16:22:52 EDT From: Viccicraig@aol.com Subject: Re: Permatree In a message dated 98-06-16 15:33:23 EDT, uberg@sonic.net writes: >Also, woj's idea of digitizing the hard-to-find songs is a great >idear. The question is: How would we decide on a definitive version >if more than one exists? > > i have no idea to decide that, but again i offer....anyone want a song into CD format or if you would like them on Wav files or mp3 etc just let me know, i only have a small bit of "rare" stuff but i am working on that, but it really isnt complicated at all to make a wav file or mp3, it only seems imposing..... heh and a short apology to the Gene Hackman guy......hehehe he knows why =D and if you want to mail me the song i will put it up on FTP space for you... woj, if you have any tech questions or just want someone else to do it, i would be glad to handle it.... =D - --vicci (oh and try and write me back personal mails to: awake@pacbell.net) ------------------------------ Date: Tue, 16 Jun 1998 13:24:38 -0700 From: Eb Subject: Re: a number of remarkably well-orificed remarks Feeney wrote: >#3: Rufus Wainwright: Well, Eb, I took your recommendation and bought >this album. Though it isn't that BAD, really, I cannot imagine YOU liking >this record. Are you just fucking with us???? or do you REALLY like it?? >Because I can see how it sounds sort of like that one French singer lady >that you like (Claudine Cousteau? a.k.a., C#?). >And furthermore, I am AMAZED at how much Rufus sounds like Ron Sexsmith! No way. Sexsmith is a meek little mumbler. Wainwright has a rich, strong voice with a bit of vibrato and plenty of sustained notes. Sexsmith writes guitar songs, using very sparse, traditional chord progressions. Wainwright writes piano songs with highly complex tempos and melodies, plus huge backing arrangements. Sexsmith is all about understatement. Wainwright is almost the dead opposite of that -- pile on the instruments, aim for the stars. Wainwright is also much more of a first-person writer than Sexsmith, who instead favors storytelling and third-person characterization. They are both more mainstream than "alternative," like the Beach Boys and have a certain nostalgic '70s ambience to them -- this is about the only Sexsmith/Wainwright common ground I'm willing to acknowledge. And Wainwright, sounding like Claudine Longet? Are you just fucking with me???? or do you REALLY think so?? Hey, look -- I SAID that Wainwright wouldn't necessarily appeal to the average Fegling. I love lotsa stuff that sounds nothing like Robyn Hitchcock. If I didn't have a full plate webwise, I'd seriously consider starting a Wainwright website -- there's almost nothing about him on the Web as yet, beyond a few reviews and a horrendously perfunctory page on the Dreamworks site (http://dreamworksrec.com/rufus/50010/50010.html) Try that page or www.musicblvd.com if you'd like download some soundclips and give Rufus a test drive. Eb PS To Russ R. and other potentially interested parties: The results are in, and I did quite well on the RMAT music quiz. You can find my name posted on the Rhino site, along with other "ranking" contestants. ------------------------------ Date: Tue, 16 Jun 1998 16:30:08 -0500 From: nicastr@idt.net (Ben) Subject: Re: Magazines, etc. >>The between-song humor was outstanding. Holmes >>and Watson made several appearances-- I thought >>of JH3 and his Holmes parodies. > >So, what sort of Holmes & Watson references did he make? (I guess I could >wait for the tape, if I ever manage to score a copy...) Hmmm, if I thought >there was any chance he might've been reading my stuff, I would have >inserted some Robyn references in there just to freak him out a bit. Hey, >maybe it's not too late! He did a great "one man mini-play" with Holmes and Watson talking back an forth, where Holmes' feet are so wet that when he takes his boots off they stay in the boots, so he lets them dry out and sews them back on. There were numerous other references to Holmes & Watson, such as a fly dressed as Watson in the DeChirico Street severed horse head... Of course it's always best to hear this from the horse's mouth, so to speak. ------------------------------ Date: Tue, 16 Jun 1998 16:06:55 -0600 From: amadain Subject: Re: a number of remarkably well-orificed remarks >>Because I can see how it sounds sort of like that one French singer lady >>that you like (Claudine Cousteau? a.k.a., C#?). I don't see that at all. I listened to some of the sound clips, and actually it reminds me a bit of Jeff Buckley, I guess, if I have to draw a comparison -somewhere-. >No way. Sexsmith is a meek little mumbler. I agree with Eb. I can't see this at all, and I too think Ron Sexsmith is wussy-sounding. A little too "precious folkie" for my tastes, but then I've never liked wispy voices, whether male or female. >backing arrangements. Sexsmith is all about understatement. Wainwright is >almost the dead opposite of that -- pile on the instruments, aim for the >stars. You know, given what you say here, it's surprising you don't like a certain American expat singer that I'm always talking about, because that was exactly -his- approach. I say was because he seems to have gone the opposite route with "tilt", which is quite bleak and spare and actually, if you want to talk older artists approaching newer music a la Bowie's "Outside", it's remarkably successful and actually makes Bowie's efforts look rather shabby. Love on ya, Susan ------------------------------ Date: Tue, 16 Jun 1998 14:08:19 -0700 From: Eb Subject: Re: a number of remarkably well-orificed remarks Mississippi Malcolm Scott-Heron wrote: >I don't see that at all. I listened to some of the sound clips, and >actually it reminds me a bit of Jeff Buckley, I guess, if I have to draw a >comparison -somewhere-. Yes, I saw a Buckley comparison made once before. I suppose I'd grant this a *bit* more validity, but I dunno, Buckley has a sexy, worship-me-I'm-a-transcendent-poet-god quality that Wainwright really doesn't have. Wainwright is a lot warmer, and Buckley's just got too much Led Zeppelin in him. And while I like Wainwright's voice a lot, it's nowhere near capable of Buckley's swooping acrobatics. Damn, that guy could sing. >I agree with Eb. I can't see this at all, and I too think Ron Sexsmith is >wussy-sounding. A little too "precious folkie" for my tastes, but then I've >never liked wispy voices, whether male or female. Aren't you a Nick Drake fan, or am I confused? >You know, given what you say here, it's surprising you don't like a certain >American expat singer that I'm always talking about, because that was >exactly -his- approach. Well, Wainwright's arrangements sound fresh, whimsical and original to me, while what I've heard of Scott Walker seemed like very traditional wall-o'-strings stuff. Eb ------------------------------ Date: Tue, 16 Jun 1998 17:43:10 -0400 (EDT) From: Aaron Mandel Subject: Re: a number of remarkably well-orificed remarks On Tue, 16 Jun 1998, Eb wrote: > PS To Russ R. and other potentially interested parties: The results are > in, and I did quite well on the RMAT music quiz. You can find my name > posted on the Rhino site, along with other "ranking" contestants. does anything on the site explain how it's scored? taking the version they've got posted right now, i got exactly half of the 300 questions, but the posted scored have fractions of points, so i suspect the ego boost is illusory... of course i know the EASY ones... still, ought to get off my butt and try it next year. a ------------------------------ Date: Tue, 16 Jun 1998 15:26:49 -0700 From: Eb Subject: Re: a number of remarkably well-orificed remarks >On Tue, 16 Jun 1998, Eb wrote: > >> PS To Russ R. and other potentially interested parties: The results are >> in, and I did quite well on the RMAT music quiz. You can find my name >> posted on the Rhino site, along with other "ranking" contestants. > >does anything on the site explain how it's scored? taking the version >they've got posted right now, i got exactly half of the 300 questions, but >the posted scored have fractions of points, so i suspect the ego boost is >illusory... of course i know the EASY ones... still, ought to get off my >butt and try it next year. If you get a question right, it's one point. If you get a question wrong, it's minus 1/3 point. If you don't answer at all, no penalty. So if your total wrong answers are a multiple of three (like mine were), your score is an integer. Eb ------------------------------ Date: Tue, 16 Jun 1998 19:15:25 EDT From: MARKEEFE@aol.com Subject: Re: a number of remarkably well-orificed remarks In a message dated 98-06-16 17:12:06 EDT, you write: << Well, Wainwright's arrangements sound fresh, whimsical and original to me, while what I've heard of Scott Walker seemed like very traditional wall-o'-strings stuff. >> I think that, with his first three albums (Scott 1, Scott 2, Scott 3), that was the point: Traditional wall-o'-strings pop, but with lyrics that greatly transcended the usual topics of the pop vocal genre (ya know, philosophy and squalor and stuff like that). Yeah, "Tilt" is nothing like his early stuff. I love both ends of his career, but "Tilt" is a fairly difficult album -- not as difficult as some critics would have you believe, though. I mean, compared to Zorn's "Spy vs. Spy"? Coltrane's "Meditations"? Tim Buckley's "Starsailor"? Actually, I think "Tilt" is really beautiful, in a haunting way, of course. And, the lyrics, while deeply obscure, are full of interesting images. Anyway, there's obviously a bit of Scott Walker (his old stuff) in the young Wainwright, but probably the influences are a step removed (via Roxy Music or something; I don't know). I didn't like Rufus's album, but I could see its merits. Definitely worth listening to. - -----Michael K. ------------------------------ Date: Wed, 17 Jun 1998 00:16:55 GMT From: dwdudic@erols.com (David W. Dudich) Subject: Patti! > f.) the highlight of the day, the week, the month, the year, was PATTI >SMITH! She was AWESOME!!! She is the coolest woman in the entire world, >and I am now convinced that I have to be just like her. Honest to god, two >days later I am still reeling from the experience. Glad to see the mention of Patti on the list. I hate to say this, but Patti SMith Group at the 9:30 this past winter was STILL the most intense concert experience I have ever been to, this past weekend included. (Admittedly, It is very close- actually getting to talk to Robyn himself pushes it almost neck in neck---maybe if Morris and Andy had been there...) -luther ------------------------------ Date: Tue, 16 Jun 98 20:46:16 -0400 From: The Great Quail Subject: Erotic Robyns and Horses with Fleadhs Hello, Fegs! Ah, to have a COMPUTER again! To be able to read email again! How novel. What a weekend this last one was. And I would be remiss if I did not take this opportunity to babble on about it; and I swear that I will be a bit more coherent than my new roommate, Shirley Feeney. I will also try not to repeat information others have posted, and I will also not babble on about how sexy the boys from Wilco were. Regarding Robyn's gig(s) at the Bottom Line: LJ, Woj, Gary "Black Bart" Assa and I arrived in plenty of time to get great seats, and after an embarrassing incident where three waitresses in a row made passes at Gary, we settled in with beer and gin-soaked olives. Most of these we had to pry from LJ's fingers, if not directly steal from one of her three million martinis. Alas, the menu did not feature anything as provocative as "Agony of Pleasure Waffles" or "East Grimstead Wings," but I did have a few carrots, and one of them had a blemish which looked like Deni Bonet, so it was not a total loss. Tim Keegan was really cool -- I never saw him before, and I thought he played two damn good sets, especially his first, more light-hearted set. The beer was so expensive that I couldn't buy "Acoustic Homer," "Sonic Marge," or even "Eno Three-Speaker Maggie," but I'll keep my eyes peeled for them in the future. Robyn. . . . . Well, by now you have all heard that Robyn is doing the piano thingie, and that he started Set the First with "Silver Dagger," which is my mom's favorite song. (My mom is a huge Joan Baez fan. As a child, I actually confused her with Joan Baez because my mom *looked* like Joan Baez, listened to her albums all the time, and sang her songs constantly. (In between Harry Chapin songs, that is.) So I truly thought my mother was Joan Baez for quite a long time. This was most perplexing, because my Dad does not look at all like Bob Dylan. But I *did* get Dylan's hair. Hmm.) It was a great pair of sets, and Robyn's hair looked like it was designed by Jim Henson's Workshop. I have never heard him play acoustic guitar more tightly, and to hear "Flavour of Night" on piano was even worth Woj's dire glare when I made a few audible squeaks of delight too close to his craftily concealed taper microphone. But still, the highlight for me was "Victorian Squid," which I have never heard Robyn sing. Maybe it's the recent Oscar Wilde revival that's infected the lad's blood, but that lovely tale of Victorian sexuality was belted out with a deliciously squidariffic intensity. But I was struck by something -- and not for the first time. Robyn's recent songs seem so wonderfully erotic and hauntingly lovestruck, yes? "I Feel Beautiful," "Beautiful Queen," and "As Lemons Chop" are just so . . . *moving*, and "Jewels for Sophia," "Elizabeth Jade," and "Adoration of the Cities" are some of the most erotic songs he's ever written. And not just sexual either, but simply, and surprisingly, sensual. Even that new song, the ending is just a killer, something like "You stand before me your body dark with honey." Yikes. So . . . here's my question, and it is sort of PG-13. Does anyone else here think "Jewels for Sophia" is about -- or at least inspired by -- oral sex? It really struck me that way, hearing it twice in one night. Sort of an erotic hallucinatory trip through the mind of . . . well, er, you get the picture. So, Fegs and Fegettes, what do you think? And now to the Patricia Report . . . . Shirley Feeney and I went to the NYC Guinness Fleadh on Sunday, and saw *many* cool bands. I finally saw my hero, Shane McGowan, who was every bit as drunk and ugly as I'd hoped he'd be. I think the only thing keeping him standing was his grip on his cigarette, which was apparently fixed permanently into the air 14 inches away from his mike stand. His new band, the Popes, keep getting better, and to be honest, he has whipped them up into (more or less) a new version of the Pogues, but more traditionally Irish based. (None of that "Summer in Siam" stuff.) It was a grand old time, and we danced and reeled crazily through mud as thick and sloppy as 8 inches of Guinness-colored pudding. But that was not the highlight, oh no. Oh my droogies, listen: If ye ever get a chance to see Patti Smith live, do so. Oh, oh. I was only a few short yards away from Her Pattiness. Oh. She is cooler than Bowie, cooler than Shane, cooler than Nick or Tom or even Eb. Oh, hell -- she's so cool she could punch Lou Reed in the head. She opened with a kick-ass version of "Rock and Roll Nigger," and not a single iota of anger, condemnation, or fierce joy was missing or diluted. This was fresh and new, like she wrote it yesterday on the back of a napkin from the Chelsea Hotel. She then proceeded through a set, and what a set. She was a woman possessed at times, it seemed -- gripped totally by the spirit of her muse, I have *never* seen a performer more lost in her work, more *part* of the music. And her band! Wow! There's this piece from her new CD where she adapts the words from Allen Ginsberg's "Footnote to Howl," speaking them over some very haunting and improvisational music. Well, they played that, and Good Lord. It was not music, or poetry, or performance art -- it was sheer fucking religion, it was a cry from the depths of her spirit, it was the most intense performance of anything I have ever seen -- by the end, I was literally crying. And that was just one of the many times she did that -- she would start the groove of a song, play it out slowly, and then build it up, let it guide her, drive her, drown her; she struck the most amazing balance with her band -- the synergy was indescribable. They *took* her places, and yet her poetic chantings and gut-wrenching singing still commanded them to follow her: I was reminded of this old movie I once saw, where a Shaman was spaced out on drugs and chanting in holy ecstasy, guided gently, lovingly, reverently by two assistants. (Lenny Kaye just loves her, so much, you can see it.) I was, in short, in awe. And on top of being almost prophetically holy, she was just so amazingly cool. She knew that the whole stadium of drunken Saw Doctor fans was not really into her, but ah, that small group in front of the stage . . . she was just so happy, so delighted that we were there for her. She seemed so kind, and yet so powerful -- and funny, too. My favorite moment was when she actually "shooed" away a photographer from the photo booth -- apparently she just didn't want to have her picture taken at that time! So I don't know if she is ever going to tour -- alas! she is not playing the Fleadh in Chicago or the Bay! -- but please go see her if you ever can. . . . and by the way, her latest album, "Peace and Noise," is, in my opinion, something that ranks somewhere between "Horses" and "Radio Ethiopia." Great, great. Oh, my Patricia! It's so good to really have you back. . . . Thank you for letting me rave about this to one group of folks who will understand. I will no go back to adjusting to Brooklyn and stalking John Zorn. - --Quail PS: It was "Bertha." The Dead song was "Bertha." Jeez. - ---------------------------------+-------------------------------- The Great Quail, K.S.C. | Literature Site - The Libyrinth: TheQuail@cthulhu.microserve.com | www.rpg.net/quail/libyrinth www.rpg.net/quail | Vampire Site - New York by Night: riverrun Discordian Society | www.rpg.net/quail/NYBN 73 De Chirico Street | Arkham, Orbis Tertius 2112-42 | ** What is FEGMANIA? ** "The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents." -- H.P. Lovecraft ------------------------------ Date: Tue, 16 Jun 1998 22:58:28 +2910 From: dlang Subject: At ;last someone who will preserve standards on the list. I've not been perusing the list recently, ( involved in Friends of Feg matters too weighty to discuss here, but needless to say they have major implications for the safety of those fegs worldwide who subscribe to the list , such as how many paperclips we purchase to hold out Quail surveilance notes together and various requisitions for Thoth t -shirts, etc,) but when I returned I was glad to see that a *military *man had joined our ranks. I refer to of course, that son of fun,"Major Woody Hardon "!. A soldier will do wonders to raise the tone of the list in general. I mean its obvious that Fegmaniax is largely peopled with a motley mixture of itinerants, deadbeats, poets, left wing layabouts , colonials and psychedelic cowboys, so now we have a Squad Basher on the payroll we can do a bit of policing around here and sort out some of the troublemakers on the list. We need a man with a bit of spunk, and its obvious Hardon's our man, someone who will take a stand, show a bit of backbone ,last the course and not go off half cocked and spend himself before he's through. The last thing we want is someone who will make cheap smutty jokes or risque allusions to sexual prowess and its time that we stamped this out.. So welcome to the list Hardon ! and may your Woody attributes remain aroused and alert and ready to join FOF in their endless fight against evil whereever,,/m, etc, etc, blah, blahn,mn,m.nlkj/jbm, zzzngcvb,c ------------meep , meep! dave ------------------------------ Date: Tue, 16 Jun 1998 21:32:53 -0400 From: "Black Bart or Jet!" Subject: Re: Erotic Robyns and Horses with Fleadhs > Regarding Robyn's gig(s) at the Bottom Line: > > LJ, Woj, Gary "Black Bart" Assa and I arrived in plenty of time to get > great seats, and after an embarrassing incident where three waitresses in > a row made passes at Gary, we settled in with beer and gin-soaked olives. Did I miss this? Now, were these three waitresses standing in a row, or was it three separate incidents of three separate waitresses? How come I can't tell when someone is making a pass at me? Well, I know lj was, but I won't compromise our friendship. ------------------------------ Date: Tue, 16 Jun 1998 21:33:06 -0400 From: "mr. pointy" Subject: Robyn Hitchcock/Chinese water python fegs, got this tab in the mail today. anyone want to comment or confirm? woj >From: "Christopher Vuchetich" >To: >Subject: Robyn Hitchcock/Chinese water python >Date: Tue, 16 Jun 1998 16:32:35 -0700 > >Hi there, > >was looking at your web site and saw your tab for songs, thought you might >like this one as well, don't recall where I received this but it sounds >pretty darn close to the song on the album. > >Christopher > >Chinese Water Python from the album Eye. > >Playing order: >(Part One, Part Two) x2 >(Part Three) >(Part One) > >[Part One] > [G] [C] >E-------------------------------------0------- >B-------------0h1p0-------1h3p1---0----------- >G-0h2p0---------------0---------------0------- >D---------0----------------------------------- >A--------------------------------------------- >E-3-----------3-----------3------------------- >[G][D] [C] [G] [D] >E-3-2-5-2-0-3-0------------------- >B---------------0h1-3-1p0--------- >G-0-------------------------2----- >D---0-------2-2-------------0----- >A---------3----------------------- >E---------------3----------------- > > [G] [C] >E-------------------------------------0------- >B-------------0h1p0-------1h3p1---0----------- >G-0h2p0---------------0---------------0------- >D---------0----------------------------------- >A--------------------------------------------- >E-3-----------3-----------3------------------- >[G][D] [C] [G] [D] [G] >E-3-2-5-2-0-3-0------------------- >B---------------0h1p0------------- >G-0---------------------2---0----- >D---0-------2-2---------0--------- >A---------3----------------------- >E---------------3-----------3----- > >[Part Two] >(play this part three times, and on the fourth, play up to the first note >in the G. Sustain this for a whole note) >[strumming distinctly] >[D] [C] [G] >E--------------------------------------- >B-----3--------------------------------- >G-2-2-2p0-------------0----------------- >D-0-0-----4---0---0-2------------------- >A---------0---0-3-------3p2-------0-2h3- >E---------------------------3-2-3------- > >[Part Three] >[increased tempo] >E-----3--------------------------------------------- >B-------------------3-------------0---------3---1--- >G---------------------0-------------0h2---2--------- >D---5---5-5p4---0h2-----4/2---0h2-------4-----0----- >A-------------5-------------3----------------------- >E-3------------------------------------------------- > >E-----------2--------------------------- >B-------------------0h3----------------- >G-----------------0-----0-------0------- >D-2-----2/4---4/5-----------4---0------- >A-----3---------------------5----------- >E--------------------------------------- > >E-----3----------------------------------------------- >B-------------------3---------------------3----------- >G---------------------0---------0-------------0---2--- >D---5---5-5p4---0h2-----4/2---2---2--/4--------------- >A-------------5-------------3------------------------- >E-3--------------------------------------------------- > >E------------------------------------------- >B-----1------------------------------------- >G-------------------0-----------2---0------- >D-4-------2-----0h2---------------------0--- >A-------------3-------3p2---0h2-3----------- >E-------------------------3---------3------- > >------------------------------------- > > > ------------------------------ End of fegmaniax-digest V7 #225 *******************************