This page renders best in Firefox (or Safari, or Chrome)
READIN
READIN started out as a place for me
to keep track of what I am reading, and to learn (slowly, slowly)
how to design a web site.
There has been some mission drift
here and there, but in general that's still what it is. Some of
the main things I write about here are
reading books,
listening to (and playing) music, and
watching the movies. Also I write about the
work I do with my hands and with my head; and of course about bringing up Sylvia.
The site is a bit of a work in progress. New features will come on-line now and then; and you will occasionally get error messages in place of the blog, for the forseeable future. Cut me some slack, I'm just doing it for fun! And if you see an error message you think I should know about, please drop me a line. READIN source code is PHP and CSS, and available on request, in case you want to see how it works.
See my reading list for what I'm interested in this year.
READIN has been visited approximately 236,737 times since October, 2007.
The chorus of "Ultra Unbelievable Love" fades out and is replaced by a steady, hypnotic rhythm. When Robyn's voice comes in it sounds like the locomotive whistle above the beat of the rails. Let's jump off the train... This song might feature the most compelling vocal work on the record. The lines starting with "What are we waiting for" are rivetting, with Robyn practically screaming -- outrage? fear? "In the city of Lies,/ Real life is a -- crime..." Check out that pause before "crime" and then the change in register -- this is one of the things I find utterly attractive about Hitchcock's singing, the tiny, unpredictable syncopations before the long notes. (This is some of what I was trying to get at the other day.)
This song starts out with a hard down beat and a rocking groove -- it pulls you out of the reverie of "Birds in Perspex" and gets you dancing fast. This is the third song in a row about love, here love is a form of prayer. This and "So You Think You're in Love" are probably the danciest and shortest tracks on the record -- they set the stage for some heavy contemplative music in "Birds in Perspex" and "Vegetation and Dimes". Again, tension between movement and stasis.
(Robyn says the song is "about ultra unbelievable love. And the quest for it. That's all.")
posted evening of April 11th, 2007: Respond ➳ More posts about Music
And we come to the song that first made me want to get this record. It is so beautiful, my heart just stops. Love is clearly going to be a major concern of the record. The poetry contained in the first verse -- "Well I take off my clothes with you/ But I'm not naked underneath/ I was born with trousers on/ Just about like everyone" -- grips me so tightly, I haven't been able to get past that much to the rest of the song as more than an auditory experience -- although I hear a lot of snatches of lyric that sound like they could be really meaningful. As an auditory experience this song is fantastic. Listen to the vocal arrangements, Hitchcock and the backups singing to each other and with each other. Listen to the mind bending instrumental midway through.
The image Hitchcock had in mind, according to this interview*, was of birds contained in clear plastic paper-weights like the ones "they sell at seasides with crabs and shells in them" -- the birds are "a frozen moment waiting to happen". I haven't gotten my head around this song enough yet to see that -- I'm focussed on the psychological stuff still; but that "frozen moment" feeling was part of my response to "Oceanside". So: tension on the record between movement and stasis. How does love fit into that dynamic?
*Another great line from the interview, "Perspex Island is a sort of portable Avalon."
Well the nub of what I'm wanting to know about Hitchcock, is how come I lost interest in his music for a long time? This song is important in that investigation, though I had never heard it until I bought this record. Here's why -- when I was talking with Jeremy the other day, he said this was the song that had turned him off from Robyn Hitchcock; and when he was saying that I was thinking about "If You Were a Priest" from Element of Light, and "Flesh Number One (Beatle Dennis)" from Globe of Frogs, and that they had played the same role for me -- I don't know how to identify that role beyond calling the songs "pop" and "not cryptic".
When Oceanside closes it recapitulates its opening, the growing chorus of voices cut off with a strong beat, which this time around just reverberates and fades away* -- when it reaches silence you get the first beat of "So You Think You're In Love". A striking characteristic of this record is the choreography of transitions from one song to the next -- I can only describe it as "elegant".
So -- pop, yes. Not cryptic, at least not in the in-your-face way that his first records are -- although listening if you listen to the lyrics in the verses you will find plenty to be puzzled about. It's a silent majority, the crime of the century. Are you sure that it's wise, no you probably ain't.
The song is short and sweet, from my current location I can find nothing in it to dislike, and much to appreciate. It's hard for me to see how songs like it would have been the cause of my losing interest in Hitchcock.
If you have a couple of hours free and want to listen to a Robyn Hitchcock concert, listen to this one. Highlights:
"I Got the Hots for You" (track 4) is a great performance of a great song, and the patter leading into it (which is actually at the end of track 3) very funny. All of the inter-song patter throughout the show is great.
"Lictus House" (track 5) knocked me over.
Deni Bonet plays violin on the final 6 songs, she is marvelous. "Driving Aloud (Radio Storm)", the second-to-last track, particularly stands out, as does the violin part in it.
Some annoying audience noise but oh well.
posted evening of April 9th, 2007: Respond ➳ More posts about Gig Notes
Listen to the beginning -- the choral voices come in slow, gaining force, then bang! comes the beat, and Hitchcock singing to you about seaweed and descent. This song gets you moving and movement is going to be a constant force on this record. Maybe I will find today, maybe I will lose tomorrow, he tells you, and you're in his moment, rolling across the golden sand and out into the waves. Floating and sinking are all you can do. ("The big red sun that won't go down") Listen to what Hitchcock does with his voice, the way he sings the chorus. Listen to the way the background vocals introduce him. This is what I want rock and roll to be.
I've been listening to this record constantly since I got it last week and I think it is maybe the best rock and roll album I have ever heard. The songs individually are masterpieces, and the connecting thread running between the songs and through the album -- well it's enough to take my breath away.
So that said -- I have gotten into my head that I want to write about the record, as a first step toward writing about Robyn Hitchcock's music. I want to write about it song by song, communicate some of the ideas it puts in my head. That is a project I am going to be taking on over the next couple of weeks -- this link will take you to the thread of posts about the record. A little background:
Recently when I was getting interested in Robyn and looking around You-Tube to see if I could find any of his performances, I clicked on an MTV acoustic performance of "Birds in Perspex" and I thought That is about the most beautiful thing I have ever heard out of Robyn's mouth. Turns out the rest of the record is equally miraculous. Here is some of what I find by searching Google for information on the record.
Pete Dooley hates it as "an American album by a British band".
Mark Fleischmann thinks it is Hitchcock's best album since "Black Snake Diamond Role". Robyn tells him that he wrote the album around the time he was getting together with his wife Cynthia Hunt.
3 songs from Perspex Island made the charts, according to Chris Kocher.
Paul Shrug says that Hitchcock "released Perspex Island exactly at the moment I needed it". I didn't listen to the record then (1991) but I am finding that the record is exactly what I need at this moment.
Ira Robbins (and/or his co-author Michael Pietsch) doesn't thinkPerspex Island sounds much like Hitchcock (a sentiment I am finding bizarre) but still calls it "poignantly top-notch".
How exciting, an archive of Robyn Hitchcock shows! At Internet Archive of course. Also there are nearly 3,000 Grateful Dead shows and studio dates, earliest from 1965.
I've been thinking, since I listened to the song "Adventure Rocketship", that it was a little silly, and immensely pleasant; that it might however not be among the greatest of Robyn Hitchcock's songs. Listening to it again tonight I had this thought: there is a thing Hitchcock does with his voice, that when he does it, this wave of bliss just washes over me, in a totally reliable way -- it's a reaction on a gut level and it happens quite regularly. Well in "Adventure Rocketship" he does it a lot, like at the lyric, "You crash upon a/ Star...", where it is practically impossible to keep yourself from singing along.
Which makes the song really nice to listen to, an experience of physical pleasure. But getting behind that, I'm not really sure the song is much else besides an excellent vehicle for his Voice -- whereas the songs of his I really love, like "Winchester" or "Love", they have the beautiful voice thing going on, but also another kind of beauty. Well anyway that's what I'm thinking. I do like the video for "Adventure Rocketship" a lot.
(Just now I realized that there is a way of reading the above as setting myself up to make the argument I outlined having convinced myself of around "Globe of Frogs" time -- that is not my intent at all. Songs on the new records, like "Television" which I am listening to now or "Belltown Ramble", "NY Doll", "The Authority Box" earlier, I am even at first listening grouping with the above songs that I love on multiple levels. Hitchcock's Voice, in "Television" even does the thing I'm talking about when he sings "Television, say you love me" with the syncopation before the first beat, and it works exactly like I described.)
