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Sunday, April 15th, 2007
Boy oh boy, this is post #700 on my humble blog! Here is a link to the whole Perspex Island song by song series of posts, in the proper order.
posted evening of April 15th, 2007: Respond
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Monday, April 16th, 2007
So here are some of the albums that I have been listening to and am meaning to write about: - Olé! Tarantula (2006) -- this is the record that re-alerted me to the existence of Robyn Hitchcock. Bought a copy at the Knitting Factory show.
- Spooked (2004) -- I learned about this record when I was watching the documentary, the night before the show; and bought it at the show.
- Perspex Island (1991)
- Moss Elixir and Mossy Liquor (both 1996) -- when I was listening to this show I heard Deni Bonet playing fiddle on some of the songs -- immediately took a look at her web site and found that she is on one of his records; this be it. Also her two solo cd's, Acoustic, OK? and Bigger is Always Better are on my list.
- Robyn Sings (2002) -- a double album of Dylan covers by Hitchcock. And look at the track listing!
- I Often Dream of Trains (1984) -- classic Hitchcock. I bought the cd at the KF show.
posted evening of April 16th, 2007: Respond
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I was talking with Gerald tonight and he asked me to expand on my understanding of Perspex Island as a frozen moment of time. Rambling around some, I got around to calling it a "frozen moment" -- when "time" is added the static island vanishes. I'm flailing around a little because it seems to me like on the record, motion is clearly and repeatedly presented as a good thing -- but with motion there can be no Earthly Paradise. I mentioned how a lot of Hitchcock's songs (maybe none on this record?) are about decay, another way for Earthly Paradise to vanish and one that is unambiguously bad. Also talked about the "please don't let me get away" lyric in "Ride".
posted evening of April 16th, 2007: Respond
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Friday, April 20th, 2007
"I gotta split/ -- It's a quaint old fashioned way to leave the room" what a fantastic line that is! This lyric is hilarious. Like it fits together but the logic is a little otherworldly. It stands out from the album rock and roll in the middle of a lot of choral and sweetly poetic songs.
posted evening of April 20th, 2007: Respond
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Sunday, April 22nd, 2007
The more I listen to this record, the more it is growing on me. I ordered it after I heard Deni Bonet playing with Robyn at the January 9, 2004 show -- looked in his catalog and this was the record she made an appearance on. Then on first listening I was a little disappointed to hear that the only song you hear a lot of violin on is the first. It took a couple of listenings to get past that to the point of hearing the record's greatness... The order of the songs and transitions between songs seems less important on this record than it did on Perspex Island. The songs are all beautiful and there is a common thread linking them but less of a sense of overall narrative structure. Bob and I are going to try learning to play "Alright Yeah" -- found tablature for it at The Asking Tree. (Hitchcock says "All the songs on this album were there for a purpose, not just to create the right texture." And, here is another interview from when the record came out.)
posted evening of April 22nd, 2007: Respond
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I have been experiencing a synæsthetic perception of Robyn Hitchcock's music that is coming into sharper focus over the last few weeks -- I am understanding listening to the music and lyrics as as a kind of movement across a landscape and through tunnels and passageways. I'm wondering if I can expand this into a way to relate to music in general -- I believe I have experienced it before though I have never given voice to it or quite understood what was going on.
posted evening of April 22nd, 2007: Respond
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Monday, April 23rd, 2007
Thinking about music -- I am feeling right now like on the verge of some kind of personal breakthrough, one where I suddenly acquire a sense of purpose and a mode of personal expression -- and that listening to and playing music will somehow be the vehicle of this awakening. I keep coming back to the song Ride -- All I have to do in this world, is ride, All I gotta do is ride. That if I listen hard enough I will find a way of losing myself in the song, a way that will work consistently.
posted evening of April 23rd, 2007: Respond
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Saturday, May 5th, 2007
Storefront Hitchcock is a beatiful concert film. It is from right around the time of Moss Elixir/Mossy Liquor; a lot of songs from that album are featured. Deni Bonet is playing on a couple of songs and boy is she a fine musician. Tonight I am watching it and I wanted to transcribe some of Hitchcock's patter, which I found pretty fun and engaging, and vaguely apropos to this evening's Mineshaft discussion. He has just finished "Feels Like 1974" and introduced Bonet: If you stand up properly, it's possible to make yourself -- with this technique, it's called "Alexander Technique", for actors, and people who have, ah, incredibly bad posture but enough money to try and get over it. Ah, you can actually make yourself grow two or three inches by doing it correctly. They align you as if, as if your spine was an, an endless plate of crockery. And kind of line it up properly so it won't tip. Most of our spines zig-zag heinously, and you can go up for miles.They're planning... as you know, people get taller -- the average human height increases by one and a half inches every hundred years. Most of our an-- Julius Cæsar would have only come up to your pelvis. You could have broiled him, you know. He would have been no trouble -- those legions -- they were just midgets. I went to an astrologer's house in um, wherever that place is with the rose-colored rocks, ah, Arizona... built for astrolog, sorry astronomers in the fifth century BC, and all the doors were really tiny, they were like the size of cucumber frames. So I pictured all these cucumbers, going into the astronomers' house and like spiraling up the stairs. And um, well what they're planning to do is make people -- not only because people are eating more and more pure beef, which as you know is probably the best possible foodstuff that the world can produce. One of the reasons we were created, that ah Siemens and Glaxo and Virgin and Disney got together and said "Let there be humanity" was, so that we could eat beef... and I'm very proud of our wonderful country that they haven't forgotten that... Thank you. And ah, let's just hope the conservatives get in again, shall we... And ah, if you're watching this in the future, I come from a time when there was a two-party system, but things have veered toward an inevitable monopoly -- people have complained about the eastern bloc being a monopoly for years. This is exactly what's happened in the west, there's just -- when the final Big Fish fellates the last Medium-sized Fish and, and absorbs it, thoomp like that, there will just be one Big Fish with a distended stomach... Anyway, back to the beef, let's not forget it, ah people are supposed to just be getting bigger and bigger, and as you know, Neil Armstrong was seven foot seven; all those -- you've already been to the Smithsonian, you've seen those capsules, the Mercury Capsule and the Gemini Capsule, they're very tiny, they actually look like the Stonehenge in the Spinal Tap thing, where it comes down on a spider's web. This is a posthumous public relations thing by NASA; in fact these men were giants, cause they were put into a, into a (also actually in Arizona) government site, and fed radioactive carbonated beef for two years until they became very tall. Their capsules were huge, and ah, anyway they're planning for the rest of us to follow suit, and I got so angry I wrote this song: Hitchcock and Bonet play Filthy Bird. Yeah, um this is, this is another one. Thing is, people, I don't know why people ever actually introduce songs, because, the song itself is an introduction to itself. It's like if you meet somebody named Martha, they say, "This is Martha"; I mean, you know, that person happens to be known as Martha, just as I might be called Bloomingdale's, or, or you know, Deni might be called Statenisland. But that's really only the beginning of the story. There's a whole mass of molecules, and complexes, and, things bound together by terrifying physical improbabilities, and the truth is, she could fly apart at any moment. Like some terrible pent-up lock that's waiting to snap and spatter her psyche across the universe. God knows... It is disgusting Deni, it's life, and if it weren't for our ribcages, it would just be spleens à -go-go. I mean, you know people are just held in by all this, and then they're called almost insultingly by a single name. And the same with a song, I could say what a song's called, which isn't going to be much of a clue, unless you've heard it before, or I can explain what it's about, and I'm gonna be lying. So in the end it's very much, there's ah not much point in it. That's interesting, there's some people polishing a gun carriage over there. One of those big brass eighteenth-century things, for storing in time capsules. There's a very thin line between torture and cosmetics. I wonder, now's our chance to cross it. Okay, take a deep breath and yip-a-dang. Hitchcock and Bonet play Let's Go Thundering. More transcription another time.
posted evening of May 5th, 2007: Respond
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More patter! Hitchcock has just finished playing You and Oblivion.I don't come from anywhere particularly, but inasmuch as I come from anywhere, I come from this diamond-shaped island at the bottom of England, it slots into the bottom as if Great Britain was laying an egg, and it's this diamond-shaped egg, which is the Isle of Wight. And ah, there's some very beautiful bits of cliff and beach there. But it's very soft, the bottom of the island is disappearing at the rate of about ah, ten feet a year. Stuff just goes, and it doesn't seem to come back. And ah, so I worked out that, that the cliffs where I pace, in another hundred years' time will disappear completely, and that my ghost will be fifty feet above the beach. There must be other ghosts out to sea, as the ghosts get further out to sea their costumes get older, so you've got you know, ghosts from the fifties about twenty feet out, and ghosts from World War II ghosts just beyond that, and you've got Great War ghosts with their goggles, and Edwardian ghosts with their mantles and Victorian ghosts with their cravats and canes, ah Jacobean ghosts with their... legs. And it just goes back on, whatever they had, those things to stop 'em smelling too bad. And about a mile out, there must be Cro-Magnon ghosts, clubbing each other to death and grinning. Now I guess there's going to be a few more of those inland as well. Anyway, this is a song from my ghost to those who walk underneath it.I mean which, which may well be computers actually. If ah, if any of you computers are watching this, in fifty years' time, we're the people that put you here. We're God. We're terribly sorry -- you know, God never apologized to us. He made us bow down and fucking worship him for thousands of centuries. Every time he slapped our face we had to go "Oh, great is thy mercy, Lord! Have another sacrifice, I've chopped off this arm, will a leg do. Elmer, get off the leg!" Ah, so anyway, we apologize, we're not responsible, we created you, we're extinct. Hitchcock plays Airscape,
posted evening of May 5th, 2007: Respond
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Tuesday, May 8th, 2007
A bunch of records that I had ordered from various places showed up in the mail yesterday, which I'm happy about. They include Mossy Liquor, an alternate cut of Moss Elixir, which I am meaning to give the same treatment I gave Perpex Island -- it is equally great an album. Also two records by Deni Bonet, who playes violin on Moss Elixir and who toured with Hitchcock for a while in the late 90's. And Volume 4 of the Suzuki method -- I have decided to try re-learning the Seitz concertos therein. Deni Bonet has put up some videos of herself with other musicians on YouTube. Audio and video quality is a little spotty; but I particularly liked Driving Aloud and Arms of Love, with Robyn Hitchcock, and Phillip Larkin, with Kimberly Rew. And if her web site is up to date, she is broadcasting a "Duets with Deni" show every Sunday at 10 pm, at Manhattan Neighborhood Network (Channel 56).
posted afternoon of May 8th, 2007: Respond
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