From: owner-fegmaniax-digest@smoe.org (fegmaniax-digest) To: fegmaniax-digest@smoe.org Subject: fegmaniax-digest V8 #262 Reply-To: fegmaniax@smoe.org Sender: owner-fegmaniax-digest@smoe.org Errors-To: owner-fegmaniax-digest@smoe.org Precedence: bulk fegmaniax-digest Tuesday, July 20 1999 Volume 08 : Number 262 Today's Subjects: ----------------- Re: they of the eternal deadpan smirk [Eb ] Re: Afire, J.S. Owl Hopes. [Eb ] RE: Afire, J.S. Owl Hopes. ["Chaney, Dolph L" ] The Fabled Interview Transcript [Vivien Lyon ] JfS review reactions [DDerosa5@aol.com] Re: I agree with Eddie! News at 11 [Joel Mullins ] Re: JfS review reactions [Joel Mullins ] seattle, etc. [four episode lesbian ] JfS ["Marc Holden" ] Re: JfS review reactions [MARKEEFE@aol.com] ---------------------------------------------------------------------- Date: Tue, 20 Jul 1999 13:44:40 -0800 From: Eb Subject: Re: they of the eternal deadpan smirk >going all the way back to "gimme the car" from before their first album. Still, the only Femmes song which truly grabs me. Eb, who despite not being much of a fan, regrets missing an easy chance to see the Femmes for $3 in a university utility room, just before their debut album took off in popularity ------------------------------ Date: Tue, 20 Jul 1999 13:51:10 -0800 From: Eb Subject: Re: Afire, J.S. Owl Hopes. Dolph: >And dang, he followed up the word >'butterfly' with the phrase 'flutter by...,' which ranks with Lyle Lovett's >"flyswatter/ice water blues" for shoulda-been-obvious-but-wasn't >songwriterism. Peter Gabriel played the butterfly/flutterby card on "Supper's Ready," back in 1972. Eb (yes, I still don't have JfS) ------------------------------ Date: Tue, 20 Jul 1999 17:05:21 -0400 From: "Chaney, Dolph L" Subject: RE: Afire, J.S. Owl Hopes. And here I've spent years wondering what futter-pies are... 8-) ------------------------------ Date: Tue, 20 Jul 1999 17:23:12 -0400 (EDT) From: Natalie Jacobs Subject: I agree with Eddie! News at 11 > 3.5 out of four, or out of five? Out of five. For the record, the only album I've given five stars to is the Beefheart box set sampler. The Flaming Lips, Apples in Stereo, and Cibo Matto got four. I didn't review Apple Venus, but it would have gotten four also. > but the album doesn't --i dunno > quite how to explain it-- doesn't seem to leap out of the speakers and > attach itself relentlessly to your person the way ELIXIR does. Whether you want it to or not! I find ME to be a little uneven, but it's got many more memorable tunes than JfS. > 3. i really, really miss deni. Yeah. I would have at least liked to have heard some more varied instrumentation. After listening to so much E6 stuff, I want horns and singing saws on every album I hear. n. ------------------------------ Date: Tue, 20 Jul 1999 17:40:38 -0400 (EDT) From: Vivien Lyon Subject: The Fabled Interview Transcript This is the transcript, complete and almost totally unaltered. I cut out a lot of ums and uh-huhs. But I tried to keep it as close to the actual truth of what was said as I could. I am very unsparing of myself (and Dave- sorry, man) here, you'll all see how few social skills I have. For publication, I'm going to edit heavily, of course. M= Me, by the way, so you all can imagine it was you asking terrifically insightful questions and saying those tremendously charming and witty things. Interview with Robyn Hitchcock July 8, 1999 R: Is it recording or not? M: Yeah it is. R: Do you need to wind back? M: Nope. It's totally recording now. Okay- Well, first I want you to know that I've met you before- R: Uh huh. M: And it was really embarrassing, so I'm not going to tell you when it was. R: Uh, okay. M: But I was wearing a polka-dot shirt. R: Oh? M: If that gives you any clue.... R: Okay, well.... M: It was when you did the Sandy Denny Tribute, in New York, in November. R: Oh, right. Yeah, yeah. M: Right. Yeah. I cam up to you afterwards and I said hi.... R: Right. Yeah, oh yes, I remember. Yes. M: Yeah, I couldn't think of anything to say- so now I've thought about things to say, and I'm interviewing you. R: Okay! M: So...Um, do you want frivolous questions or deep questions? R: Just whatever comes. M: Okay. I've listened to your album, your new one, and I like it a lot. R: Thank you. M: My burning question is: Are you lactose intolerant? Because that's what I get from Cheese Alarm. R: No, no, I'm not lactose intolerant. I'm prone to weight gain, but I'm not lactose intolerant. M: Okay, ‘cause I am, and I was concerned for you... R:Ah. M: Because you seem to enjoy cheese so much. R; Okay, well, no...I'm fine, thanks. M: Okay. Here's a question of a different tone. You seem to have had at least some experience with Christianity, enough to make you seemingly bitter about it, but you have a lot of references in your songs to Jesus, the Lord ,God- R: Mm-hm. M: And the Devil. Do you have conflicting emotions about Christianity? R: Well, I suppose culturally I come from a sort of Christian background as much as I come from England, which is technically a Christian country. M: Right. R: You know, the thing about God and the Devil is that they both require people to buy into them, you know? They're created in Man's image and they need your support as much as Siemens and Glaxo and Virgin and all the other big corporations. Good and Evil may well exist as almost palpable forces and it may be that our universe is nothing more than the struggle between the two moral forces. Though, when you take people away I'm not sure whether that matters. In other words, I think that without people the world just happens, there is pain and pleasure for creatures but I don't know if there's the same kind of moral instability that there is when viewed through the Christian viewpoint. I don't think I'm bitter about Christianity. I've just always found it very depressing, basically is the answer to that. M: I AGREE! (not true, actually) R: It's that whole thing that, you know, well Jesus died for you so you owe him one, even though he died centuries before you were born. As it says in Monty Python and the Holy Grail, God appears in the sky and says, "Oh God, stop those bloody hymns, they're so wretched!" It's just so..I don't know, it seems like almost an insult to life, it implies that life is a terrible thing and the most you can do is groan through it in hope that you'll be born again in some sort of fairyland that may not exist. M: It also seems to imply that all experiences are either good or bad, there's no mixture, no grey. R:Yeah, you mean, everything is tarred with a sort of moral brush? M: Right. Broad strokes. R: Yeah. I can certainly see that. (sounding bored) M:You know, my dad used to tell me these amazing stories when I was a little kid- R: Mm. M: And I realized that one of the reasons I like you so much is because you tell great stories. R: Uh huh (sounding dubious) M: I was wondering if your dad told you stories when you were growing up? R: Not as such, but he did used to write stories. He wrote quite a few books. M: Yep. I've read a couple. R: Most of which weren't published. The best ones weren't published. You've read some of his books? (sounding delighted) M: Yeah. R: Oh, where'd you find them? M: My ex-boyfriend, who got me into you, is sort of fanatical. Actually, he's interviewed you a couple of times... R: What's his name? (sounding flat and wary) M: Dave Derosa. This was a long long time ago. R: Oh, right. M: ‘Cause you've been doing this for a long time. R:Yeah, yeah. M: And he's an old guy. R: Well, it's my job. M: And we're glad that you're doing it! (laughing through nose again) He ordered some of your dad's books through Amazon.com. R: Oh, wow. M: Yeah, it took a while. We got Percy, which had a really cool cover R: Oh, yeah. Did you get the Tunnelers? That's the best one. It's about two men digging a tunnel, during the first World War, the Germans and the British used to try to dig tunnels under each other's lines, it was deadlock. They were hoping to dig these tunnels so they could somehow....they would sort of plant bombs in them and blow their way through the deadlock .People just got trapped down there very often, because in the tunnels the boards would collapse and things like that. It's quite a harrowing book. That's a really good book. But just to answer your question- Yeah, he did tell stories. Well, he used to make things up, he used to invent things, that's true. And he would probably mythologize our lives a bit, and so maybe that's where that comes from initially. I'm sure, yeah. M: I don't tell stories myself, but my dad...we were going to compile his stories into a book one time, which brings me very nicely to the question of your book and what's going on with that? R: Well, it's gotta have another draft. It's had a first draft. I've written the basic thing, and now it needs to be made more three dimensional, if you like, the characters have to lift off the page- M: Like a pop-up book? R: Sort of psychologically more than physically like a pop-up book, yeah, but something that's going to make the characters matter more to the readers perhaps. It was quite difficult finishing it at all, so...I'm only doing it in between everything else. M: What authors do you like? Have you modeled this on anyone? R: No. I'm probably actually more like my father as a writer, I think we have the same faults and probably the same strengths. Sort of strong on ideas but weak on characterization. Which also sort of applies to J.G. Ballard, who's on of my favorite writers. Have you read him? (he asked this in the softest, most wistful voice.) M: I read The Drought one time and it literally make me feel dry...(Robyn laughs) It gave me a headache and I couldn't finish it. R: Oh really? Well, I know what you mean....I read it during a drought which was even better. ( I laugh) And Mervyn Peake who did Gormenghast. M: I just read Gormenghast for the first time. R: Oh right? M: I gotta know- did you envision yourself as Steerpike? R: No, no... M: I guess nobody sees themselves as the villain... R: I think Sting does. I think Sting bought the rights to Gormenghast so he could play the part of Steerpike. M: Did he really? R: Mmm...I think he sees himself... M: Oh, you're being sarcastic. R: I'm being absolutely genuine. I know someone who used to work with the Police and he said that Sting was very keen on Steerpike, saw himself as this mean climber... M: Really? Fascinating. R: I'm sure he's made lots of money and had therapy... M: Well, he used to be really hot, but you know...age. (laughs lamely) R: Well, whatever it is, he bought the rights to act the part in a radio play, which wasn't really a good move, because he was up against a lot of great British actors and he hadn't really had much experience, M: Well, Dune. R: I really like, if you've read them you'll know, so Mervyn Peake and Ballard and H.G. Wells I think is another favorite of mine. Have you read his short stories? M: Yeah, a long time ago, my dad had some in the house. R: Ah. He wrote the Time Machine, his most famous thing, but he also wrote War of the Worlds and a lot of stuff that isn't even science fiction but they're just really good ideas, and short stories. And he had characterization. Brilliant. I would say he was probably one of the best writers. M: You know, I'm looking here at a Giorgio DeChirico book, his novel. Have you ever read that? R: Oh, no, but I did find it, I saw it the other day. Yeah, I'd like to read it. M: Hebdomeros or something like that R: Yeah, that's right, yeah. M:I read the beginning, just the first couple of pages. My roommate produced this last night out of his bedroom R: Oh? M: Which shocked me, I was like "Wow, I can tell Robyn about that." So, let's see....When you're performing.... R: Yyyeeaah....(indescribable tone in voice, sort of apprehensive and amused at the same time) M: Which I've seen you do...You blink a lot. But I'm not going to ask you about that... R: Oh! I blink a lot just to keep time M: Oh really? (hysterical incredulous tone) Wow! There's an answer! R: Yeah, that's just a kind of stroboscopic thing, it means that I get a kind of strobe-y image and I keep my own kind of time, not anything to do with being on the beat or the pulse or the metronome, but it's just....time...you know, especially if I'm soloing, I don't know if I do it while I'm singing, but I do it.... M: You do it when you're playing guitar R: When I'm playing guitar. If I'm just soloing, that's just what I do. Some guitarists screw their faces up to kind of gargoyle looks or whatever, or adopt positions of agony in some way, and I just blink. M: Yours is much more aesthetically pleasing I assure you. R: Thank you (covered by the end of my statement) M: So when you're performing, are you concentrating on the sounds that you're making with your voice and guitar or sometimes your piano or harmonica, or are you summoning the memory of making the song, thinking about how it felt to write the song? R: Oh...I think it varies. Any number of things could go through my mind, but if things are going well then I'm listening to the sound of it. You know, what fuels this stuff is really just sort of spare bits of living, really, you just kind of burn off the fat of the days, I mean, whatever it is lying around that you've been living through, could be just carrying shopping around or going to the doctor's or something like that but it all....I think a lot of it is just kind of invoking bits of discarded time. Which I put a whole song of that together called 1974. M: I love that song. R: Which is very much about reusing time that didn't seem particularly significant M: Well it seemed significant to me, I was born in 1974. (laughing through nose again, oh dear) R: Well..yeah...but it seems significant to you now, I don't know how much seemed significant then. I mean, it should all have actually done, but I mean, you know it's whatever it is going on whenever there's time that doesn't seem to matter, when you're screwing up a piece of paper to throw it in the wastepaper bin and it doesn't quite make it, you know things that don't really matter very much. Or realizing that you need to go out and buy one more pint of milk, that you forgot, or somebody calls and you decide to ring them back, not because you don't want to speak to them but simply because you haven't quite got time to talk to them. Things that are very undramatic. That's what most of out lives are composed of, whilst our cells are blossoming and aging and then dying, at least if you live in the West, the sort of bourgeois West that I've grown up in, and which still seems to elude most of the serious disasters that constantly happen. M: Yes....mysterious. R:Your life is a lot of rather bland trivia that goes on and I'm just sort of trying to celebrate it, I think. So to answer your initial question, I'm just actually recycling old feelings, I think, any number of them. They might have been ones I had while I wrote the song or they might be ones I'm having on stage. And then more intense feelings that come out when things are dramatic, those particularly are useful to have. So it kind of feeds off the emotions, the performance feeds off of whatever emotions I've been feeling over the previous months. So that's the initial answer to your question. M: And it's a very good one. Here's a frivolous question but I'm awfully curious. You've often identified yourself as a Pisces and other people by their astrological signs. Do you believe in astrology to any degree? R: No, no...I only believe in it because I'm a Pisces and they're suggestible. But I think it's a fascinating way to attempt to compute..not compute, to compartmentalize people. I'm always intrigued to find out if people born under a certain sign share enough characteristics to justify any belief. The answer is they probably don't, but I'm always amused by it and once I know what their sign is I instinctively attribute things to that...they're careful, well obviously they're going to be careful because they're Virgos. They're resplendent and happy to be at the heart of things because they're Leos, or well they're shy and home loving because they're Cancerians. But of course you always know after the event. I've very seldom guessed anyone's sign in front. I certainly wouldn't go to the stake for my belief in astrology. M: To address a different -ology subject, has your stance on technology changed with the advent of the Museum (your website). Are you still just vehemently anti-computer? R: Yeah, basically, but I don't particularly care. I think that apart from my instinctive aversion to technology, there are various points to be made for and against the computer. One of the points against it is that there are already far too many screens around and the advent of the computer means that now most people when they're working spend their whole lives in front of screens, then they go home and watch television. The only time they haven't got a screen is presumably when they're either asleep or when they're traveling to work, which I don't think can be a healthy thing. Also, you know, kids now apparently, because they grow up with the tv and computer games, Playstation and Gameboy and all that, they don't know how to relate to each other when they get to school. I don't think this is healthy. There's obviously going to be lots of really great things about the computer. All technological advances seem to be a double-edged sword, there's always something you gain and something you lose. Human nature hasn't changed very much since Shakespeare's time. Obviously they didn't have proper toilet paper or contraception or dentistry then, they also didn't have nuclear weapons and the internal combustion engine and crack and all that kind of stuff, so somehow you always get something and something taken away. It's very even. M: That answers that question. (sounding very disappointed) R: But obviously I would be a fool not to use it if in any way it would be useful to me. M: Is it useful to you? R: Well, I've got the Museum going. I don't have a computer. I'll probably be one of the last people to have one. I think when someone like Bill Gates said ‘I want to see a computer in every home and on every desk,' I thought ‘Aha, well not mine, mate.' And I took the challenge rather literally. Pretty soon they'll be making them so that you can fit them into your pocket, it doesn't have to take up a whole terminal, even laptops I don't mind, I just think having to sit there and have.. M: So they'll be less ominous when you can carry it around? R: I think so, yeah, when it gets absorbed in, you know, it becomes part of the hi-fi and all that, then fine. What we're moving towards is the point where functional items become so multi-functional that you're just gonna have one thing called the Utensil, which you will then take on picnics and you'll take it to barmitzvahs and christening and abortions and everything else that you're doing and you'll use this, you know, it'll be a can-opener and a counselor and radio and a way of getting in touch with the dead and a barometer, and you won't need all the devices which we've built up over the past four hundred years, people won't need a hammer anymore, they'll just have the Utensil. ‘Mom, did we bring the Utensil?' ‘The Utensil will tell you, ‘Don't Forget Me'"...you know, if you want to you can program it to sound like Humphrey Bogart, and it can sit there in the back of the car, whatever it is, ‘Of all the gin joints...' M: People will probably name them, because when you spend a lot of time with an inanimate object, you want it to have a name. I know I name things. R: You mean, they'll all give them different names, rather than just saying "this is a hammer"? M: Exactly. My car's named Brenda R: Right. M: My computer's named fella, my bike is named... Precious. I would have to name my utensil. R: Well that's okay, as long as other people understand it, but I could see if we carry on at that rate, what we will have is just one very multi functional object ....maybe you'll even be able to clean your teeth with it, laser away the plaque. Things are moving so....I'm not in any sort of rush to acquire a sort of state of the art 1999 Imac or something like that because in a couple years time it probably will fit onto my wristwatch. M: And it'll be cheap. R: Yeah. Yeah, yeah. M: I have a very silly question to ask. There's the two hidden tracks at the end of the album. Who is Leslie, and what's going on with her grasp of the bicycle? R: Leslie? M: Yeah, it sounds distinctly like you're saying something about Leslie's grasp of the bicycle. R: Oh, I can't believe your grasp of the bicycle. That's it, and then tape ran out. Well, she would be...I can't remember what was happening beforehand. There's Elizabeth in a truck. No, I took that line out. I think it refers back to a line that edited out of the song, so you have to be lucky that the tape ran out. M: Does Maisie still listen to Nine Inch Nails? R: Errrm....Occasionally. I think she...not so much, not so much....but she certainly remembers who they are. That's pretty much it. Time ran out at that point. I was not myself at the time, I have no idea who that person was, but I feel no responsibility for whatever lame things she may or may not have said. I didn't have time to ask many of the questions I wanted to ask, and feel like some of the things I did ask were superfluous to say the least. Ah well. According to this Alanis Morisette person, apparently you not only live, but learn as well. _________________________________________________________ Do You Yahoo!? Get your free @yahoo.com address at http://mail.yahoo.com ------------------------------ Date: Tue, 20 Jul 1999 17:51:49 EDT From: DDerosa5@aol.com Subject: JfS review reactions First let me apologize for posting Kot twice--I'd heard back from Bayard and viv that it hadn't come through, but seemed OK on the digest. I'm happy to see people are getting the albm--I plan on going back to Quaker to get it, and to thank them for hosting my favorite Robyn show ever. Dolph posted his feelings, a few of which seem pertinent: MEXICAN GOD -- I am probably the only person who started humming Beck's "Cold Brains" during the intro, but there you go... I loved the song live at Quaker Gets Indigestion, but this version is more remarkable because, to me, it's the first truly '90s sounding Robynsong. (reminded me of Beck too, you're right it's 90s, and that's....goood.) THE CHEESE ALARM -- I dig the tabla action. And since, after years of exposure, I still froth with giggles at the "Cheese Shop" sketch every time, this one is a clear winner for me. VIVA! SEA-TAC -- Both here and live, I find I'm not so fond of the song. It's certainly fun, but I'm sure this will be a "skipper" for me after repeated listens, as it feels to me like he's taken the easy way out lyrically (I agree again... I know it's supposed to be spontaneous, but the line "the Space needle's such a nice guy" is just....dumb. face it people, that line is dopey! This song might have worked better much later in the album.) YOU'VE GOT A SWEET MOUTH ON YOU, BABY -- And dang, he followed up the word 'butterfly' with the phrase 'flutter by...,' (here I must point out, as someone likely will too, that the insect was originally called a flutterby, so this is more one of those wordplays that come directly form etymology (as opposed to entomology). still, a damn pretty song) NASA CLAPPING -- Hooooooooo doggies!!! (hear here, this should be the single) NO, I DON'T REMEMBER GUILDFORD -- Always a pleasure to hear Robyn add some piano in, as well. (I'm not sure I like it better than the SH version, but it is canonical...) DARK PRINCESS -- Continuing what to me is a striking buildup of quality, "Dark Princess" is somehow singalongy, haunting, tender, and creepily psychedelic. (this is the only dog for me at the end of the album--just doesn't work. everytime he does that stuttering "dark...dark...dark...", I keep thinking "dork...dork...dork...) Gnat offered: My picks (suggestions for DJs to play) were: Mexican God, Viva! Sea-Tac, I Feel Beautiful, Antwoman, Elizabeth Jade, and Don't Talk To Me About Gene Hackman. (replace VST with NASA, and they'd be my picks too.) oh, and earlier eddie said yeah, up to three or four times the content. But it's just so they can mix it with even crappier tobacco and keep the nicotine content about where it's at now. They (PM, I think) also got caught smuggling seed into South America to try and grow this. I'll see if can find the reference... tha's all, dave ------------------------------ Date: Tue, 20 Jul 1999 16:56:50 -0700 From: Joel Mullins Subject: Re: I agree with Eddie! News at 11 Natalie Jacobs wrote: > Yeah. I would have at least liked to have heard some more varied > instrumentation. After listening to so much E6 stuff, I want horns and > singing saws on every album I hear. That's definitely understandable. I like JfS a lot, but OTC still has my vote for the best album of the year. I just LOVE that E6 instrumentation! Joel ------------------------------ Date: Tue, 20 Jul 1999 17:02:10 -0700 From: Joel Mullins Subject: Re: JfS review reactions DDerosa5@aol.com wrote: > (I agree again... I know it's supposed to be spontaneous, but the line "the > Space needle's such a nice guy" is just....dumb. face it people, that line is > dopey! This song might have worked better much later in the album.) I like the "..nice guy" line. The one that bothers me is at the end when he sings, "long live everything in Washington State...." That whole last part just seems totally uninspired to me. It is a fun song. But you're right, it would've worked better later on the album, as would The Cheese Alarm. > NASA CLAPPING -- Hooooooooo doggies!!! (hear here, this should be the > single) Most definitely! This song rocks! Joel ------------------------------ Date: Tue, 20 Jul 1999 15:57:40 -0400 From: four episode lesbian Subject: seattle, etc. hola fegs, back from whatever-nifty-nickname-seattlelites-have-for-their-city and vancouver. the former was fegful and the latter fegless (daniel saunders is the only feg i can recall from vancouver, but he unsubscribed a while ago), but i did check out the vogue theater where robyn and billy bragg played in '96. no sign of the alleged haunting, but it may have been just taking a break. very nice to meet fuckin' eddie and cynthia. as eddie mentioned, we drove down to tacoma to see chris chandler, which was quite enjoyable. believe it or not, i hadn't heard anything by him before and figured even if he sucked, the company would be good. well, it was a homer on both accounts. dunno what chandler considers himself to be, but i'd say if you enjoy rant/poetry with a strong rhythm band underneath it all, he's right up your alley. sort of a roots rock answer to utah phillips, maybe. anyways, while in seattle, i did hear "viva! seatac" on the radio. i think it was kndd, but it could have been kmnt. also found a small treasure trove of robyn memorabilia at a store called "rock memories" on denny. they had the three fishes filmore concert poster which you can see on the glass hotel ($45), a bunch of promo photographs ($12 apiece), and a flyer for a 1986 egyptians performance at the starry end ($12, i think; doesn't say what city the starry end is in, but i'm assuming it's in the seattle area since the show was promoted by monqui which, i believe, is a seattle-based outfit). didn't buy any of it. i didn't bring my copy of _jewels for sophia_ with me, so i've listened to it three times already this morning to catch up. i think i'll probably end up sided with eddie and gnat on this one -- a good record, but aside from a few songs, it doesn't resonate with me all that much. still headed out to buy a real copy this afternoon though (the "advance" dub i had was a minidisc copy). nothing to add about the smoking debate and the only thing i'll say about religion is that i find the possibility of *no* afterlife a lot more comforting than the possibility of one. woj n.p. kristen hersh -- sky motel ------------------------------ Date: Tue, 20 Jul 1999 13:12:12 -0700 From: "Marc Holden" Subject: JfS Finally got a copy of Jewels last night--I had to wait for the mid-night early release, along with about 25 college and high school kids picking up the new NIN single ("The Day the World Went Away"--really a tame one, maybe even dull). I only got to hear bits and pieces at first, in the car, and various stereos in my house as I went from room to room taking care of stuff for work today. Never got a really good listen last night, just an over-all impression of the album--it's going to get A LOT of play over the next few months, really worth the wait. It's kind of weird being familar with most of the content before hearing the album. I really like some of the full arrangements. I went to bed listening to the album, and when my alarm went off this morning, one of my cats jumped up on the self in my headboard where I have a stereo and bumped the "play" button. It has been playing continuously since (except when I move it from one player to another). Finally, new Robyn stuff. Marc np--take a guess ------------------------------ Date: Tue, 20 Jul 1999 18:24:53 EDT From: MARKEEFE@aol.com Subject: Re: JfS review reactions In a message dated 7/20/99 2:56:13 PM Pacific Daylight Time, DDerosa5@aol.com writes: << VIVA! SEA-TAC -- Both here and live, I find I'm not so fond of the song. It's certainly fun, but I'm sure this will be a "skipper" for me after repeated listens, as it feels to me like he's taken the easy way out lyrically (I agree again... I know it's supposed to be spontaneous, but the line "the Space needle's such a nice guy" is just....dumb. face it people, that line is dopey! This song might have worked better much later in the album.) >> Well, actually, that's one of my favorite lines from the song! For some reason, the Space Needle just *does* seem like a nice guy, so it works for me. There are other instances where he seems a little lyrically lazy, though, I agree. What are these instances? Um, I don't know . . . but I remember thinking it at the time! Boy, there's not even close to a song on this album that I would skip. Actually, I can safely say that I probably wouldn't skip any songs on any Robyn album. I hardly ever skip songs on albums, period. But I enthusiastically avoid the >| button whilst listening to "Jewels for Sophia"! - ------Michael K. ------------------------------ End of fegmaniax-digest V8 #262 *******************************