Robyn Hitchcock: Sex, Food, Death ….and Insects

Robyn Hitchcock: Sex, Food, Death ….and Insects


LIFE IS ALWAYS A BIT
OF A SHOCK TO ME, AND I’M ALWAYS TAKEN
BY SURPRISE, AND MOST OF MY SONGS,
IF THEY’RE ABOUT ANYTHING, THEY’RE ABOUT THE SHOCK
OF EXISTENCE. YOU KNOW, PEOPLE SAY,
“WELL, HITCHCOCK WRITES
ABOUT FOOD, SEX, AND DEATH, YOU KNOW, WITH A SIDE ORDER
OF FISH AND INSECTS,” YOU KNOW, AS IF I WAS BEING
INSANELY WHIMSICAL. “OH, GOD, HERE COMES THE OLD
FOOD, SEX, AND DEATH MAN AGAIN. YOU KNOW, NEVER MIND.” AND–BUT, YOU KNOW,
FOOD, SEX, AND DEATH ARE ALL THE SORT OF CORRIDORS
TO LIFE, IF YOU LIKE, AND YOU NEED SEX
TO GET YOU HERE, FOOD TO KEEP YOU HERE,
AND DEATH TO GET YOU OUT, AND THEY’RE
THE ENTRY AND EXIT SIGNS. CHORUS, BRIDGE, CHORUS. Hitchcock: THAT’S IT,
AND THEN ALL END ON THE SECOND
“AH HOO” ON THAT. THE SECOND ONE? OK. SO THIS IS JUST, I MEAN,
THE VERY LAST ONE
AT THE END. RIGHT. SO WE’LL JUST TRY
AND GET THIS RIGHT. THIS IS
A GETTING-IT-RIGHT TAKE. YEAH. THE GETTING-IT-RIGHT
THROUGH, YEAH. ALL RIGHT.
ARE WE–ARE WE OFF? [TUNING ACOUSTIC GUITAR] Hitchcock: JUST GREAT
EVERYONE’S TURNED UP. IT WAS MICHELLE’S IDEA,
I RECALL. DO A FEW GIGS TO PAY FOR IT. WITH THE CORE BAND OF SCOTT,
BILL, PETER, AND ME, WE’RE GONNA TRY AND RECORD
AND ARRANGE SOME OF THIS STUFF. I’VE LEFT MESSAGE
FOR JOHN PAUL JONES, AND BILL SAW HIM
IN THE HIGH STREET THIS MORNING. NICK LOWE’S GONNA POP IN
AT VARIOUS POINTS. CHRIS BALLEW I’VE GOT
TO CALL BACK. HE’S IN HIS HOLIDAY,
AND MORRIS WINDSOR
WILL COME DOWN LATER TO DO HARMONIES. THE GUYS IN MY BAND JUST,
YOU KNOW, FELT THAT THEY WANTED A YEAR OFF,
AND FOR ME, TAKING A YEAR OFF FROM MUSIC WOULD BE LIKE
TAKING A YEAR OFF
FROM BREATHING, YOU KNOW. I MEAN, IT’S CALLED DEATH. YOU KNOW, I CAN’T DO THAT. ROBYN AND I HAVE BEEN WORKING
TOGETHER FOR YEARS, AND IT SEEMED LIKE
A PERFECT TIME. I FINISHED THE R.E.M. TOUR
LAST SUMMER, AND ROBYN CALLED UP AND SAID,
“OH, I WAS THINKING MAYBE WE
COULD DO JUST A COUPLE DAYS RECORDING IN SEATTLE,”
AND IT JUST–YOU KNOW, WE MADE A RECORD’S WORTH
OF STUFF IN A COUPLE DAYS. IT FELT GREAT.
WE KIND OF FINISHED IT OFF, AND THINGS STARTED OCCURRING. ALL OF A SUDDEN, IT FELT
LIKE, “HEY, YOU KNOW,
THIS IS A REAL BAND. IT FEELS LIKE A BAND.
WE’RE PLAYING LIKE BAND.” YOU KNOW, GETTING TO SPEND
A WEEK IN LONDON IS NOT A BAD THING. Hitchcock: I DON’T REALLY KNOW
WHAT THE WORDS ARE. ♪ IT’S A DOWNBEAT ♪ ♪ THE BEAT COMES DOWN ♪ ♪ AND YOU RIDE THAT MONARCH ♪ ♪ OUT OF TOWN ♪ ♪ EVERYBODY’S PLEASED ♪ ♪ TO BE THE PERSON ♪ ♪ THAT THEY WANT TO SEE ♪ ♪ IF YOU HIT
HIGH PIANO TRIPLETS AT THE TOP ♪ ♪ IT WOULD SOUND GOOD ♪ ♪ IF I WAS NOT A PIGLET ♪ ♪ HERE COMES THE CHORUS,
I’M GONNA SEE YOU… ♪ Hitchcock, voice-over:
IF YOU’RE WORKING WITH
OPEN-MINDED PROFESSIONALS WHO LIKE TO LEAP
ON THE ANGLES OF CHANCE AND SEE WHERE IT TAKES THEM,
IT’S FUN, AND I THINK IT’S JUST
BECAUSE THEY’RE SO GOOD THAT THEY LIKE THE RISKS
AND THE EXCITEMENT OF GOING INTO SOMETHING
WITHOUT PREPARING FOR IT. Buck: THE FACT THAT WE’RE LUCKY
ENOUGH TO GET TO DO THIS. YOU KNOW, WE GET TO STILL WRITE
THESE SONGS AND PLAY THEM. YOU KNOW, SOMETIMES,
THAT’S ITS OWN REWARD. I DON’T THINK ANYONE IN THIS
GROUP OR ANYONE IN THIS HOUSE TODAY MEASURES SUCCESS BY HOW
MANY RECORDS YOU SOLD OR HOW MUCH MONEY
YOU’VE GOT IN THE BANK. Hitchcock: ♪ AND EVERYONE ELSE
IS A HOLLOW BELL ♪ ♪ EXCEPT YOU ♪ ♪ I’M GONNA SEE YOU ♪ ♪ IN THE AFTERLIFE ♪ ♪ I’M GONNA SEE YOU ♪ ♪ IN THE AFTERLIFE ♪ ♪ I’M GONNA SEE YOU ♪ ♪ IN THE AFTERLIFE ♪ WITH HIS FOOT ♪ RO ♪ HE’S SOMEONE GOOD ♪ ♪ HE’S MADE OF SOOT ♪ ♪ HE’S GOT A LAUREL CROWN
AROUND HIS HEAD ♪ ♪ WHICH KEEPS HIM DEAD
NOT DOWN ♪ ♪ HE RIDES THE MONARCH ♪ ♪ OUT OF TOWN ♪ ♪ BUT YOU KNOW JUST WHAT ♪
ROPESPEARE SAID… ♪ Hitchcock: I DON’T ALWAYS
KNOW WHAT I’M ON ABOUT. I JUST THINK–SORT OF WRITE
THE SONG FIRST AND THEN ASK QUESTIONS LATER, SO IT’S NOT THAT THIS IS ALL
A CAREFULLY THOUGHT OUT CODE. Buck: I LIKE TO NOT HEAR A SONG
BEFORE I GO IN THE STUDIO. I KNOW SOME PEOPLE LIKE TO
REHEARSE AND PREPARE, BUT I KIND OF PREFER TO JUST
HAVE SOMEONE SHOW IT TO ME, AND THEN I JUST PLAY
RIGHT AWAY. YOU KNOW, I’VE ALWAYS WORKED
REALLY QUICKLY, AND I LIKE TO WORK
REALLY SPONTANEOUSLY, AND I ALWAYS THINK THAT YOUR
FIRST THOUGHT OR REACTION IS ALWAYS YOUR TRUEST AND BEST. THE GUYS IN R.E.M.
DON’T FEEL THAT WAY, SO IT’S JUST A STRUGGLE,
AND IT’S BEEN
A STRUGGLE FOR YEARS, AND IT’S GETTING MORE
OF A STRUGGLE TO– ME WANTING IT TO BE FAST
AND SPONTANEOUS AND LET IT GO, AND THEY WANT TO SPEND A LOT OF
TIME WORKING ON IT. THIS IS THE WAY I AM.
THIS THE WAY I LIVE MY LIFE AND THE WAY I RECORD, AND THE STUFF I DO
WITH R.E.M. IS DIFFERENT. S ♪ ♪ IT’S WAITED ALL YOUR LIFE ♪ ♪ THE DRIVER’S DEAD ♪ ♪ HIS BONEY ARMS ♪ ♪ AROUND THE BONES OF HIS WIFE ♪ ♪ AND THAT’S TRUE LOVE ♪ ♪ YOU STILL GOT THE RADIO ON ♪ ♪ DOES IT MAKE YOU CRY? ♪ IF I START OF SINGING SOME–
SOME JOLLY LITTLE SONG ABOUT BOPPING ALONG
THE BACK ROADS SOMEWHERE OR, YOU KNOW,
HAVING AN ICE CREAM
ON A BEACH OR SOMETHING, INEVITABLY, THINGS
WILL GET DARKER. I JUST NEED TO BE ABLE
TO MAKE THEM GET LIGHTER AGAIN IF NECESSARY. OTHERWISE,
ALL YOU’RE DOING IS… MAKING PEOPLE’S ALREADY
DIFFICULT LIVES SLIGHTLY WORSE, AND, YOU KNOW, ALL YOU CAN DO AS
AN INTELLIGENT PERSON IS TO TRY NOT TO ADD TO THE SUM
OF HUMAN MISERY, BUT I’VE CERTAINLY,
YOU KNOW, CONTRIB– MADE MY CONTRIBUTION
TO THE PILE. ♪ MM ♪ ♪ MM ♪ ♪ MM ♪ ♪ DOES IT MAKE
YOU CRY? ♪ ♪ MM ♪ ♪ MM ♪ ♪ MM ♪ OK. ♪ BENEATH THE STAR
OF VENUS ♪ I THINK THAT’S AS GOOD
AS ANYTHING, YOU KNOW, WHICH IS NICE BECAUSE
IT’S A BRAND-NEW SONG, AND IT’S NOT SOMETHING HE DID
40 YEARS AGO THAT YOU SAY, “OH, IT WAS SO GREAT, YOU KNOW. “HE REALLY WROTE GREAT SONGS
THEN, YOU KNOW. “OOH! BUT HE’S STILL PLUGGING AWAY.” NO. HE’S STILL–HE’S STILL
WRITING GOOD SONGS. ONCE YOU JOIN A CLUB,
YOU–YOU GO BEHIND THE SCENES, AND YOU SEE HOW THINGS WORK, AND, YOU KNOW, THE VEIL
IS DRAWN BACK IN A WAY, AND YOU SAY, “OH, RIGHT.
WELL, THERE’S THE COGS
THAT DO THIS, “AND THERE IS THE MACHINE
THAT MADE THIS HAPPEN, WHICH BEFORE I THOUGHT
WAS ABSOLUTELY MYSTERIOUS.” WHERE DOES
THAT ENERGY COME FROM? HOW DOES HE MAINTAIN SUCH
SEEMINGLY GENUINE ENTHUSIASM AND EXCITEMENT FOR HIS WORK
AND FOR PLAYING IN GENERAL AND FOR THE PEOPLE
THAT HE WORKS WITH AND FOR THE PEOPLE
THAT HE LOVES IN HIS LIFE? SHE SAID ♪ ORNOC” ♪ “WHERE PEOPLE FAN
THEIR FLAMES” ♪ ♪ “DESIRE IS THE ONLY JUDGE” ♪ ♪ “AND GOD HAS MANY NAMES” ♪ ♪ “ONE OF THEM IS MR. SPHINX ♪ ♪ “AND ONE OF THEM IS GOD” ♪ ♪ MIRA FISHES FROM THE ROCKS ♪ ♪ FOR THE DA VINCI CODE ♪ DOWN THE BARF PLUG WITH A SONG,
A DANCE, AND A SMILE. WELL, I THINK IF YOU’RE GONNA
GO DOWN THE PLUG, THEN YOU WANT TO GO
LAUGHING DEFINITELY. I MEAN, WE DON’T–AGAIN, YOU
KNOW, LAUGHTER IS–LAUGHTER IS THE DATELINE THAT YOU CROSS
WHEN LIFE BECOMES UNBEARABLE. YOU KNOW, LOOK AT BASIL FAWLTY. I MEAN, IT’S–IT’S SO
PAINFUL THAT IT’S FUNNY, AND ONE OF THE REASONS WE’VE
MANAGED TO SURVIVE IS BECAUSE WE CAN MAKE A JOKE OUT
OF ALMOST ANYTHING, AND THE PEOPLE TO MOST BEWARE OF ARE THOSE WHO HAVE
NO SENSE OF HUMOR. I THINK THE ADOLF HITLER
JOKE BOOK WAS PRETTY THIN. ♪ WHAT YOU CALL FAITH ♪ ♪ I CALL IT POLLUTION ♪ ♪ WHAT YOU BELIEVE ♪ ♪ IS GONNA KILL US ALL ♪ Hitchcock, voice-over:
YOU’RE ALWAYS PREACHING
TO THE CONVERTED IN SONGS. THAT WOULD NEVER BE HEARD
BY A CREATIONIST, AND IF THEY DID,
THEY’D PROBABLY JUST THINK IT WAS A NICE TUNE
AND THAT I WAS ON THEIR SIDE. ♪ DESTROYING ANYWAY ♪ ♪ WE EVOLVE ♪ ♪ AND THANK ♪ ♪ FUCK FOR THAT ♪ ♪ WE EVOLVE ♪ ♪ IS YOUR WORLD STILL FLAT? ♪ ♪ SOMETIMES, MY HEART
COULD BURST ♪ ♪ THE NAZIS GOT THERE FIRST ♪ THIS STUFF IS
FUMBLED FOR, YOU KNOW, BUT I THINK AS AN INTUITIVE–AS
AN INSTINCTIVE SONGWRITER, I’VE PROBABLY GOT A FAIR WAY
JUST BECAUSE I DON’T NEGLECT THOUGHTS OR IDEAS. YOU KNOW, IF I SUDDENLY THINK,
OK, I’M GONNA WRITE A SONG CALLED “NOTE TO SELF:
KILL MORE FLIES,”
I DO, AND I HAVE. IT WASN’T THAT GREAT,
SO I WON’T SING IT TO YOU, BUT, YOU KNOW,
IT’S WORTH TRYING. YOU JUST–YOU NEVER KNOW
WHAT’S GONNA COME UP. I TEND TO THINK THAT THERE ARE
WAYS TO APPROACH SUBJECTS WHERE THE LISTENER DISCOVERS
WHAT IT’S ABOUT WITHOUT BEING BEAT
OVER THE HEAD ABOUT IT. I MEAN, HONESTLY FOR ME,
THE MORE STRAIGHTFORWARD
THE SONG, THE MORE IT WEARS OUT
FOR ME AFTER ONE
OR TWO PLAYS, YOU KNOW. YOU CAN ALWAYS FIND DEPTHS
IN HIS STUFF THAT, YOU KNOW, LIKE, THE TENTH TIME
YOU HEAR THE RECORD, YOU JUST GO, “YEAH. THAT’S
WHAT THAT SONG’S ABOUT,” OR, “I NEVER NOTICED THAT
LINE BEFORE.” ONE OF MY FAVORITE RECORDS
OF HIS HAS ALWAYS BEEN “I OFTEN DREAM OF TRAINS,”
SO I WOULD OBVIOUSLY
RECOMMEND THAT TO ANYONE. WHEN I’M ALONE ♪ F TRAIS ♪ I RIDE ON THEM
INTO ANOTHER ZONE ♪ ♪ I DREAM OF THEM CONSTANTLY ♪ ♪ HEADING FOR PARADISE ♪ ♪ OR BASINGSTOKE OR READING ♪ FOR AN AMERICAN TO LISTENTOB
TO RYN’S MOBYN’SATERIA MATEL AND SOME OF THE THINGS
HE WRITES ABOUT, YOU KNOW, IT’S LIKE, “OOH. BASINGSTOKE.
THAT SOUNDS MYSTERIOUS.” WHEN OF COURSE IT ISN’T AT ALL. ♪ AND THERE IN THE BUFFET CAR ♪ ♪ I WAIT FOR ETERNITY ♪ ♪ OR BASINGSTOKE OR READING ♪ Buck: “I OFTEN DREAM OF TRAINS”
IS A GREAT COLLECTION OF SONGS, AND IT REALLY PAINTS
A REALLY STRONG PICTURE OF A CERTAIN KIND OF ENGLAND
THAT MIGHT NOT HAVE EVEN EXISTED WHEN HE WAS WRITING THE RECORD. I GET THE FEELING IT’S MORE
AN ENGLAND OF HIS YOUTH THAN OUR EARLY 20s, BUT, YOU KNOW, SOMETIMES, THAT’S
WHAT YOU WANT OUT OF A RECORD IS JUST IT GIVES YOU A PICTURE
OF A PLACE AND A TIME THAT I’VE NEVER SEEN. ♪ SAILOR FROM PARADISE ♪ ♪ SAILOR FROM SPAIN ♪ ♪ SAILOR OF ECSTASY ♪ ♪ GROW IN YOUR VEINS ♪ YOU KNOW, I’VE
LISTENED TO A FAIR BIT
OF TRADITIONAL MUSIC, WHAT’S CALLED FOLK MUSIC,
AND, YOU KNOW, MY DAD USED TO PLAY THOSE RECORDS
WHEN WE WERE GROWING UP, NOT REALLY OBSCURE STUFF BUT THINGS LIKE
THE CLANCY BROTHERS AND LOUIS KILLEN,
THERE WERE THE WATERSONS, AND I THINK MY TASTES WERE
PROBABLY MORE MORBID BECAUSE I WAS YOUNGER
AND MORE INTENSE. I DON’T THINK HE REALLY WANTED
MUSIC THAT PLUMBED THE DEPTHS, BUT IF YOU WERE GROWING UP
IN THE SIXTIES WITH NO IMMEDIATE THREAT TO YOUR LIFE,
YOU WERE QUITE HAPPY TO DO THAT, SEE HOW DARK YOU COULD GET
BECAUSE IN A WAY IT WAS ALL
GUARANTEED, YOU KNOW. THE BISCUITS WERE THERE,
THE TEA WAS THERE,
THE SOCIAL SECURITY. WE DIDN’T EVEN HAVE VIETNAM. ♪ CATCH ON THE HOOK ♪ ♪ OF YOUNG JOHN IN THE AIR ♪ ♪ JOHN ♪ ♪ IN THE AIR ♪ LIN, AND I JUST FOUND MESELF
CARRYING IT AROUND, WHICH YOU CAN’T DO WITH EITHER
THE BASS OR THE HAMMOND ORGAN OR A PIANO, AND IT’S JUST
LIKE–IT’S GREAT TO–YOU KNOW,
A LITTLE INSTRUMENT. YOU CAN JUST WHIP IT OUT,
AND IT GOES IN THE OVERHEAD
LOCKER OF AN AIRPLANE, AS WELL, SO THERE’S SO MUCH GOING FOR IT. AND YOU CAN PLAY ANYTHING ON IT. Hitchcock: ♪ STREETS ARE SEAS ♪ ♪ AND DOWN BENEATH MY KEEL ♪ ♪ THE SEAWEED FLOATS ♪ ♪ THROUGH
THE VENTILATION SHAFTS ♪ ♪ AND THAT’S THE WAY I FEEL ♪ ♪ BORN ON THE WIND ♪ ♪ BORN ON THE WIND ♪ ♪ BORN ON THE WIND ♪ ♪ “WE LIVE IN A PORNOCRACY,”
SHE SAID ♪ ARE WE ROLLING, CHARLIE? OH, WE ARE. OK. IRLS ♪ ♪ LOOK LIKE RAVENS ♪ ♪ AS THEY FLOCK
AROUND THE POOL ♪ ♪ AND THEY PECK
AT THEIR REFLECTIONS ♪ ♪ IN THE SHADOWS
OF MEN’S DROOL ♪ ROBYN BASICALLY ASKED IF WE’D
SING HARMONY ON A COUPLE SONGS. HE WAS STARTING A NEW RECORD,
AND WOULD WE SING WITH HIM? AND SO, YES. OF COURSE, THE ANSWER IS YES BECAUSE WE’RE HUGE FANS
OF HIS WORK, AND SO HE CAME TO NASHVILLE,
AND WITHIN ABOUT 4 HOURS, I THINK, I KNEW WE
WEREN’T SINGING HARMONY
ON A COUPLE SONGS. WE WERE, IN FACT, MAKING
A RECORD WITH ROBYN. OH, I THINK HE MAY HAVE HAD
A NEFARIOUS MASTER PLAN. I DON’T KNOW. BECAUSE THERE WERE
NO TRACKS INVOLVED THAT CAME FOR US TO SING ON. Welch: THIS STUFF WASN’T
REHEARSED, SOME OF IT, AND HE’S SO SPONTANEOUS THAT YOU
CAN’T ASK HIM TO DO IT AGAIN. IT’S LIKE, HE MAY HAVE ALREADY
STARTED THE TAKE, AND SO I KNOW THERE’S
AT LEAST ONE SONG ON THE ALB UM WHERE I’M NOT EVEN HOLDING
AN INSTRUMENT WHEN HE STARTS, AND MY GUITAR ENTRANCE IS
ME GETTING A GUITAR AND, LIKE, SITTING DOWN
AND STARTING TO–
LIKE, I COME IN. I PHYSICALLY PICK UP
AN INSTRUMENT IN SOME SONG. THAT MIGHT BE
“FLANAGAN’S.” YEAH. I THINK THAT
THAT IS TAKE ONE. I DON’T THINK
THAT THAT WAS– I THINK WE PLAYED
IT A COUPLE
OTHER TIMES, MAYBE ONCE UPPED
THE OCTAVE, BUT I THINK THAT
THAT WAS THE FIRST
TIME WE SANG IT. ♪ LIKE THE TINY FROG
THAT BREATHES ♪ ♪ I CAN NESTLE YOUR ROSE ♪ ♪ NOW THE PARTY’S OVER ♪ ♪ THE DRUGS
ARE TAKING THEMSELVES ♪ ♪ I’M GOING HOME ♪ TH GILL AND DAVE, ALL 3 OF US PLAYING GUITARS, AND EVERYONE ACTUALLY TRIED–
BECAUSE IT WAS QUITE EARLY IN THE SESSION, SO WE WERE
ALL TRYING TO KIND OF– NO ONE WAS TRYING TO STEP OUT,
SO EVERYONE WAS TRYING TO HIDE BEHIND EVERYBODY ELSE. IT SOUNDS
INCREDIBLY MATURE. HA HA HA! THERE’S VERY, VERY
TENTATIVE BITS OF PICKING, AND THEN DAVE WILL DO SOME
SORT OF VERY SCUTTLING,
QUICKSILVER LICK AND THEN DISAPPEAR
BACK INTO IT, AND GILL’S KEEPING
FABULOUS TIME. I THINK IT SOUNDS
LIKE LEONARD COHEN, BUT IT WAS MEANT TO
SOUND LIKE JOHNNY CASH. [DEEP VOICE]
♪ ALL THE YOUNG GIRLS ♪ ♪ LOOK LIKE RAVENS ♪ HA HA HA! ♪ THEY FLOCK
AROUND THE POOL ♪ HA HA HA! ♪ AND THEY PECK ♪ ♪ AT THEIR REFLECTIONS ♪ ♪ IN THE SHADOWS
OF MEN’S DROOL ♪ HA HA HA! SEE, IT SOUNDS
BETTER ALREADY. HA HA HA! ♪ I’M GOING WHERE
THE STREETS ARE SEAS ♪ ♪ AND DOWN BENEATH MY KEEL ♪ ♪ THE SEAWEED FLOATS ♪ ♪ THROUGH
THE VENTILATION SHAFTS ♪ ♪ AND THAT’S THE WAY I FEEL ♪ ♪ BORN ON THE WIND ♪ ♪ BORN ON THE WIND ♪ THE OVERTONES ARE ENOUGH
BECAUSE IT SEEMS
A NOVELTY THING. YOU KNOW, “OH, YEAH.
MUSICAL SAW AND SPOONS. SONG AND A DANCE,”
YOU KNOW, ALL THAT
KIND OF STUFF, BUT ACTUALLY,
IF YOU USE IT CORRECTLY– I MEAN, I LIKE IT
BECAUSE IT’S QUITE EERIE. I LOVED IT, AND I
WANTED TO PLAY IT, AND I TOLD–I THINK
I TOLD QUITE
A FEW PEOPLE I WAS GOING TO LEARN
TO PLAY IT, BUT I DIDN’T
ACTUALLY HAVE ONE, AND THEN DA–GEORGE,
MY DAD, BOUGHT ME ONE
FOR MY BIRTHDAY. BUT THE THING ABOUT
YOU IS YOU’RE
VERY ENCOURAGING, AND I DON’T–
I’VE NEVER FELT
INTIMIDATED TO PLAY WITH YOU,
WHICH IS NICE. WELL, I’M NOT REALLY
PROFESSIONAL. SEE, I NEVER HAD
ANY LESSONS. HA HA! I THINK IT’S… YOU KNOW, IT’S THIS THING–
IF YOU FEEL LIKE
PLAYING SOMETHING, THEN YOU EVENTUALLY
ARE ABLE TO PLAY IT, OR YOU’RE ABLE
TO THEN PLAY IT
IN THE WAY YOU FEEL. I MEAN, I STILL CAN’T PLAY
“THREE BLIND MICE”
ON A GUITAR. I GUESS BECAUSE I’VE
NEVER WANTED DO, SO, YOU KNOW, FINDING
PRECISE NOTES IS ALWAYS A BIT
OF A STRUGGLE STILL, BUT IT MAKES
IT MORE EXCITING. [BAND PLAYING] DOES IT GO
LIKE THAT? IT’S “G” TO “D,”
THEN B-MINOR. I MEAN, “G” TO “D”
TO B-MINOR AND BACK TO “G.” THEN TO “A.”
THEN THE CHORUS IS… THE WHOLE THING, AND IT JUST GOES AROUND
IN DIFFERENT INCREMENTS
OF LENGTH, SO I WILL FACE YOU,
AND ASSUMING THAT ROBYN
STICKS TO THE SCHEDULE, WE SHOULD BOTH KNOW
WHAT WE’RE DOING, WHICH ISN’T ALWAYS
A GUARANTEED THING, BUT… DO YOU WANT TO ACTUALLY
COME AND SING IT
ON THIS SIDE OF THE THING? [CHEERING] THE SECRET ORIGIN
OF NICK LOWE, YEAH. I’LL HAVE TO GET
THAT OFF NOW. I’M NOT SURE IF I
REMEMBER HOW IT
GOES ACTUALLY. OH, YOU’LL PICK IT UP
BECAUSE YOU’RE
INCREDIBLY INTUITIVE. UM… DO YOU WANT TO TUNE
JOHN PAUL WITH, UM, SCOTT? HANG ON. DO YOU REMEMBER THAT
ONE “SICKIE BOY,” THE OTHER NIGHT,
IN THE DOORWAY? I REMEMBER THE SONG. ♪ WE INJECT ALL OUR BOYS ♪ ♪ WITH A HARDENING FLUID ♪ ♪ TO HELP THEM SUPPRESS ♪ ♪ ALL THOSE WET,
SLUSHY FEELINGS ♪ ♪ AND THEY DO ♪ ♪ THEY DO ♪ ♪ AND WE SOAK
ALL OUR GIRLS ♪ ♪ IN A LEATHER SOLUTION ♪ ♪ TO HELP THEM GET OVER ♪ ♪ EMOTIONAL WEATHER ♪ ♪ TO MAKE THEM BELIEVE ♪ ♪ THAT THEY HAVE
ONE ANOTHER ♪ ♪ SOMEDAY, WE’LL RISE ♪ ♪ SOMEDAY, WE’LL RISE ♪ ANTI♪ ♪ WE LOVE YOU ♪ ♪ WE LOVE YOU ♪ ♪ ♪ AND A LOSER ♪ ♪ IS SOMEBODY WHO WINS ♪ WH♪ ♪ ♪ INSIDE A HEAD PARADE ♪ Hitchcock, voice-over:
IN A FUNNY WAY, WE’RE
A LITTLE SORT OF MICROFAMILY. I MEAN, WE’VE BEEN
ROUND THE WHOLE WORLD BACKWARDS. WE’RE ALL IN A VAN. THERE’S PETER WITH, YOU KNOW,
EVERYTHING JUST SQUASHED ROUND HIM IN A WAY THAT
HE COULDN’T POSSIBLY
HAVE WITH R.E.M. THERE WAS A WHOLE LOAD
OF NACHOS WITH CHEESE
FLOATING ABOUT SOMEWHERE. I REMEMBER THERE WAS,
LIKE, SOME CHEESE FROM… Woman:
THAT WAS IN TUCSON. MAYBE IT WAS–OH. WE WOULDN’T HAVE
BROUGHT CHEESE BACK
FROM CANADA, WOULD WE? CHICAGO? MIGHT HAVE BEEN
CHICAGO CHEESE. YEAH. Rieflin: WELCOME
TO THE WORLD OF ROCK
MUSICIANS ON TOUR. WHERE DID THE CHEESE
COME FROM? McCaughey: I DON’T REMEMBER
ANYTHING ABOUT NACHOS. OOH. [SIGHS] THE LEGENDAR. I FIRST PLAYED HERE IN 1980
WITH THE SOFT BOYS. PETER FIRST PLAYED HERE
IN 1981 WITH R.E.M. SCOTT PLAYED HERE IN ’85
WITH THE FELLOWS, AND BILL, IT SEEMS,
HAS NEVER PLAYED HERE. I’VE PLAYED WITH SOME REALLY
GREAT MUSICIANS OVER THE YEARS AND DONE SOME VERY INTENSE GIGS
WITH THE SOFT BOYS AND THE EGYPTIANS
AND ALL THE OTHER VARIOUS CHUMS, BUT I THINK THIS IS JUST
THE MOST FUN I’VE HAD. AND IT, YOU KNOW–WE’RE
EXPLORING INTERESTING PLACES, BOMBING AROUND NORTH AMERICA
IN A SMALL VAN, WHICH IS STUFF THAT WE ALL DID
20, 25 YEARS AGO, YOU KNOW. SOME OF US GRADUATED
TO BIGGER VANS… HA HA HA! BUSES. SOME OF US
TO TOYOTA CELICAS. BUT WE’VE ALL WORKED
OUR WAY BACK DOWN
AGAIN, YOU KNOW. I WOULD NEVER HAVE
WANTED TO GO AROUND
IN A SMALL VAN WITH THE SOFT BOYS
OR THE EGYPTIANS OR–NO. YOU KNOW, YOU NEEDED
THE SPACE THAT YOU
HAVE ON A BUS, AND, YOU KNOW,
IT’S JUST BEEN US
AND MICHELLE AND BRIAN, AND IT’S A DREAM. A TRIP LIKE THIS,
THE RATIO OF MUSIC
TO BULLSHIT, THE MUSIC IS
A LOT HIGHER THAN IT IS
ON AN R.E.M. TOUR. I JUST HAVE TO DEAL
WITH SUCH CRAP THAT IT MAKES IT
KIND OF–KIND OF
UNPLEASANT, YOU KNOW. THE PLAYING
WITH R.E.M. IS GREAT, AND I LOVE THE PEOPLE
I PLAY WITH, BUT I JUST DON’T
WANT TO SPEND 4 HOURS A DAY SHAKING HANDS
WITH PEOPLE I DON’T KNOW. YOU KNOW, AND WITH THIS
KIND OF THING, I REALLY DON’T HAVE
MANY RESPONSIBILITIES OTHER THAN TO SHOW UP
AT SOUND CHECK
AND DO THE SHOW. IT DOESN’T FEEL
LIKE YOU’RE
A BACKING MUSICIAN OR WHATEVER
NECESSARILY. BECAUSE WE’VE BEEN
PLAYING SO MANY GIGS TOGETHER
OVER THE LAST YEAR, YEAR AND A HALF
OR SOMETHING, IT FEELS KIND OF–
IT FEELS PRETTY
BAND-LIKE. ONCE WE HIT THE STAGE,
ALL OF US, IT’S– YOU KNOW, WE’RE–
WE’RE THERE. WE’RE THERE
TO PLAY. ♪ IN THE PINK ♪ ♪ OR IN THE RED ♪ ♪ OR IN THE BLACK ♪ Hitchcock, voice-over:
MORRIS IS A GREAT SINGER. I MEAN, HE’S ALWAYS–HIS BIGGEST
LOVE APART FROM HIS FAMILY IS THE BEACH BOYS AND BRIAN WILSON,
AND WHILST HE WAS OFFICIALLY THE DRUMMER WHO SANG
IN THE SOFT BOYS AND LATER ROBYN HITCHCOCK
AND THE EGYPTIANS, I NOW SEE HIM A BIT
AS THE SINGER WHO DRUMMED, AND IT’S ALWAYS NICE TO DRAPE
HIS VOICE OVER THINGS. YOU KNOW, THE SOFT BOYS
IS LONG GONE, AND ROBYN HITCHCOCK
AND THE EGYPTIANS IS EQUALLY LONG GONE REALLY, BUT I THINK JUST SINGING
WITH MORRIS IS, TO ME, THE KIND OF LEGACY OF ALL THAT. IT GIVES YOU IN A VERY, VERY
SKELETAL ESSENCE WHAT THAT
PARTICULAR SOUND WAS ABOUT. PERSONALITY TRAITS ♪ ♪ THAT SEEM WHIMSICAL
IN A CHILD ♪ ♪ MAY PROVE TO BE UGLY ♪ ♪ IN A FULLY GROWN ADULT ♪ ♪ LACK OF INVOLVEMENT
WITH A FATHER ♪ ♪ OR OVERINVOLVEMENT
WITH A MOTHER ♪ ♪ CAN RESULT IN LACK
OF ABILITY ♪ ♪ TO RELATE TO SEXUAL PEERS ♪ ♪ AND IN HOMOSEXUAL LEANINGS ♪ ♪ NARCISSISM, TRANSSEXUALITY ♪ ♪ GIRLS FROM THE WAIST UP ♪ ♪ BOYS FROM THE WAIST DOWN ♪ ♪ ATTEMPTS TO BE… ♪ DARK AND FUNNY DEFINITELY
FIT WELL TOGETHER. YOU KNOW, IT’S A WAY
OF REDEEMING SOMETHING WHICH IS OTHERWISE
UNBEARABLY BLEAK. WHY NOT SING IT? ♪ THE ADULT ALCOHOLIC WHO’S ♪ ♪ THE MIDDLE-AGED SUICIDE ♪ ♪ OI, SO… ♪ Hitchcock, voice-over:
LIVING WITH THE CONSEQUENCES OF DARK HUMOR IS
A BIT DIFFERENT. YOU COULD SAY SOMETHING
THAT SEEMED TO ACKNOWLEDGE HOW TERRIBLE THINGS ARE
IN A FUNNY WAY, AND THEN YOU MIGHT HAVE TO LIVE
WITH THE CONSEQUENCES. IT’S WONDERFUL, LIKE,
IN SOMETHING LIKE
“MY WIFE & MY DEAD WIFE” THE LINE ABOUT “STILL
WEARING FLARES,” YOU KNOW, WHERE IT’S LIKE
JUST HIM REALIZING, “WELL, IF THERE WAS
A DEAD WIFE, AND OF COURSE SHE’D BE
DRESSED IN THE OLDER FASHIONS,” AND, YOU KNOW, JUST
THE LEVEL OF DETAIL AT WHICH HE PAINTS
HIS PICTURE. Welch: YEAH. I DON’T
THINK HE’S VERY JOKEY. AT LEAST, I MEAN,
YOU KNOW, THAT’S NOT– THAT’S NOT REALLY
WHAT I RESPONDED TO. Hitchcock: ♪ MY WIFE SITS DOWN
ON THE STAIRS ♪ ♪ SHE’S COMBING HER HAIRS ♪ ♪ I KNOW SHE’S THERE ♪ ♪ ‘CAUSE I’M DRILLING HOLES
IN THE WALL ♪ ♪ LITTLE HOLES IN THE WALL ♪ ♪ I TURN ROUND,
AND MY DEAD WIFE’S UPSTAIRS ♪ ♪ SHE’S STILL WEARING FLARES ♪ ♪ SHE TALKS OUT LOUD ♪ ♪ BUT NO ONE HEARS ♪ ♪ MY WIFE AND MY DEAD WIFE ♪ ♪ AM I THE ONLY ONE
THAT SEES HER? ♪ ♪ MY WIFE AND MY DEAD WIFE ♪ ♪ DOESN’T ANYBODY
SEE HER AT ALL? ♪ OK. YEAH, WE’LL
PLAY EVERYTHING, BUT WE’LL PLAY EVERYTHING
IN A CONDENSED WAY SO YOU’RE NOT STUCK
HERE FOREVER. SO IF YOU DON’T WANT TO–
IF THIS SONG ISN’T ONE
YOU WANT TO HEAR, JUST IMAGINE
A DIFFERENT ONE, YOU KNOW. COULD BE ANYTHING. [APPLAUSE] ♪ PEOPLE GET WHAT THEY DESERVE ♪ ♪ TIME IS ROUND,
AND SPACE IS CURVED ♪ ♪ HONEY, HAVE YOU GOT
THE NERVE ♪ ♪ TO BE QUEEN ELVIS? ♪ ♪ AH HA HA ♪ ♪ IT COULD BREAK
YOUR MOTHER’S HEART ♪ ♪ IT’S ALREADY BROKEN
YOUR FATHER’S HEART ♪ THE HARDEST PART ♪ ♪ WHEN YOU’RE QUEEN ELVIS ♪ ♪ AH HA HA ♪ Hitchcock, voice-over: MOST
OF MY SONGS ARE ABOUT SORT OF LOOKING AT MY HANDS AND GOING,
“OH, MY GOD. I’M ACTUALLY HERE, “AND I’M IN THE FLESH MODULE. “JEEZ, YOU KNOW, LOOK AT THAT. “WOW! HOW DID I GET HERE? WHAT WILL HAPPEN BEFORE ME,
AND WHAT WILL HAPPEN AFTER ME, AND WHAT HAPPENED
BEFOREHAND?” SORT OF LIKE A TERMITE COMING
OUT OF A WALL TO INFINITE DARKNESS,
LOOKING UP, HEARING NO ECHO, AND THEN SOMEHOW THE TERMITE
MANAGES TO STRIKE A MATCH AND JUST HAS ONE GLIMPSE OF HOW
AWFUL, YOU KNOW, INFINITY IS, THAT THERE’S NO BOTTOM BELOW
AND NO CEILING ABOVE. AT LEAST IT’S NOT
TOO CLAUSTROPHOBIC. ♪ GETTING BLOW JOBS
FROM THE PRESS ♪ ♪ SHA LA LA LA LA LA LA ♪ ♪ OH, I’M JEALOUS,
CAN’T YOU GUESS? ♪ INTO YOUR DRESS ♪ EEZE ♪ QUEEN ELVIS ♪ SEEMS AVAILABLE TO ROBYNE WORLD FOR HIS ART, EVERYTHING. THERE’S NO SITUATION
TOO MUNDANE OR SO MUNDANE THAT WHEN SEEN
THROUGH HIS EYES AND PUT THROUGH HIS
CREATIVE FILTER WON’T COME OUT
THE OTHER END A ROBYN HITCHCOCK SONG. WOMEN HAVE SHARPER ANTENNAE
THAN MEN IN SOME WAYS, WHICH MEANS WHEN THEY GO OFF
THEY CAN GET REALLY SCARY. MEN ARE USUALLY JUST
PHYSICALLY DANGEROUS, BUT THEY DON’T HAVE
THE SAME EMOTIONAL
DYNAMICS THAT WOMEN HAVE, AND BOTH CREATURES
ARE PRETTY TERRIFYING,
MALE AND FEMALE. BETWEEN THEM, THEY
PRODUCE THE MOST TERRIFYING
THING OF ALL, WHICH IS BABIES. [LAUGHTER] WHICH DEVELOP THEIR OWN
MULTIPLE WARHEADS AND BECOME PEOPLE LIKE US. AND, UH, SO THIS IS
A SERENADE TO A WOMAN TRAPPED IN THE HEART OF AMERICA,
FEELING IT BEAT
AGAINST HER RIBS, BUT IT’S NOT HER OWN. Rawlings: I HAVE
THE SUSPICION,
THOUGH I DON’T KNOW, BECAUSE YOU WOULD
TALK–YOU SAY THAT YOU’RE
CREEPED OUT
ABOUT THINGS A LOT, AND I WONDER IF
THAT–THAT WAS ONE
OF THE THINGS THAT I THINK, “OOH.
THAT MAY HAVE FOUND ITS WAY THROUGH,”
YOU KNOW. IF I DIDN’T
LIKE SOMETHING, I’D SAY, “THAT REALLY
CREEPED ME OUT.” HA HA! YEAH. WHO KNOWS? NASHVILLE’S PRETTY CREEPY
IN JANUARY. HA HA HA! ♪ CREEPED OUT AMERICAN GIRL ♪ ♪ CREEPED OUT
BY THE CARPET SIGNALS ♪ ♪ CREEPED OUT
BY THE MAGICAL WORLD ♪ ♪ EVERYTHING IS HAPPENING
BEHIND YOUR EYES ♪ MERICAN G♪ ♪ CREEPED OUT
BY THE ANIMATIONS ♪ ♪ UP THE WALL OUT THE WINDOW
THEY TWIRL ♪ ♪ LOOKING FOR THE ANIMAL
BEHIND YOUR EYES ♪ ♪ IT’S BEHIND YOUR EYES ♪ I KNOW INSIDE MYSELF
I’VE GOT A LOT OF SUSTAIN. I’M A STRONG PERSON, NOT IN
TERMS OF CONVENTIONAL AMBITION OR A DESIRE TO GET TO THE TOP OR TO GO, “LOOK, MA!
TOP OF THE WORLD!” BUT I DON’T GO AWAY. I KEEP DOING WHAT I DO, AND NOTHING HAS
SO FAR DEFLECTED ME, EVEN MY OWN SELF-DOUBT. ♪ BEHIND YOUR EYES ♪ ♪ IT’S BEHIND YOUR EYES ♪ ♪♪ IT’S BEHIND YOUR EYES ♪ M♪ [CHEERING AND APPLAUSE] Hitchcock, voice-over: AT HEART,
I’M A FRIGHTENED, ANGRY PERSON, AND THAT’S PROBABLY WHY SO THERE’S A HOT CORE,
AND THEN ON TOP, I HAVE THIS SORT OF WHIMSICAL,
SLIGHTLY ACADEMIC DETACHMENT, L YOU KNOW, THE REAL ME
IS JUST SCREAMING. GOING. ♪♪ W ONE♪ ♪♪ HOW DO I EXPLAIN? ♪ ♪♪ SINCERELY I REMAIN, RIGHT NOW OFF THE NEW RECORD,
THERE’S A SONG CALLED “NEW YORK DOLL” G, IT’S I MEAN, I REALLY KIND OF
EMOTIONALLY REACT TO IT. ♪ I WAS REALLY SOMETHING ♪ ♪ ON THE MAP THAT NEVER ENDS ♪ ♪ I WAS THE PULSE OF IT ALL ♪ LW♪ ♪ TO TAKE ALONE ♪ ♪ OR TO SHARE WITH FRIENDS ♪ ♪ ONE IN A MILLION ♪ ♪ PEOPLE MATTER ♪ ♪ THEN THEY GO AGAIN ♪ ♪ SINCERELY I REMAIN,
ARTHUR KANE ♪ ♪ [CHEERING AND APPLAUSE] THE NEWS IS OUT ALL OVER TOWN THAT THAT WAS RED
WHICH ONCE WAS BROWN, AND NOW IT’S BROWN
THAT ONCE WAS RED. IT’S ALL WRAPPED UP
AND BACK IN BED, BUT IT’S NOT VERY NICE
WHEN YOU LOOK AT IT. BOX ♪ ♪ AND THE HAND GRENADE ♪ ♪ LOVE IS IN THE BLADE ♪ ♪ NO ONE EVER TOUCHES,
EVERYBODY WATCHES EVERYONE ♪ Hitchcock, voice-over: I THINK
THERE’S JUST A KIND OF PULSE IN THE ORGANISM OF GOOD
ROCK MUSIC WHICH I STILL LOVE. WHEN THE OCCASION COMES ALONG, THE CHANCE TO COMES
TO PLAY THAT, IN SOME WAYS, I ACTUALLY FEEL
LIKE I’M PROBABLY ROCKING OUT FOR THE FIRST TIME IN MY LIFE,
YOU KNOW, AT 53. SO I’M, LIKE, 7 YEARS
OFF THE BUS PASS. ♪ I CALL YOUR NAME ♪ ♪ BUT YOU DON’T HEAR ME ♪ ♪ ANYWAY ♪ ♪ WHEN THE SUN GOES DOWN ♪ ♪ I’M A LONELY BOY ♪ ♪ WITH A LONELY KISS ♪ ♪ SAY WHAT YOU LIKE ABOUT THIS ♪ ♪ BUT I NEVER, EVER BOTHER YOU ♪ Hitchcock, voice-over: MY STUFF
DOESN’T APPEAL TO MEATHEADS. HAVING SAID THAT, IT’S NOT
PARTICULARLY INTELLECTUAL OR PARTICULARLY PRETENTIOUS
OR PARTICULARLY ARTY, SO IT’S NOT SOMETHING
THAT KIND OF GRACES
THE DIVANS OF THE SMOOTH. IT’S NOT DE RIGUEUR
FOR THE ELFIN SET OR WHATEVER. MY STUFF’S GOT QUITE DIRTY FEET. ♪ OH, OH, FUCK ME, BABY ♪ ♪ I’M A TROLLEY BUS ♪ Hitchcock: THERE WAS
A LOVELY BIT WHEN WE
STARTED “THE AUTHORITY BOX,” AND A COUPLE KIND OF
LOOKED AT EACH OTHER RIGHT AT THE FRONT
AND GAVE EACH OTHER THIS
LOVELY, LITTLE KISS ON THE MOUTH, LIKE,
“DARLING, IT’S OUR
SPECIAL MOMENT,” AND I WAS GOING,
“FUCK ME, BABY,
I’M A TROLLEY BUS.” IT’S LIKE, “MM.
THEY’RE PLAYING OUR SONG.” ♪ I’M A TROLLEY BUS ♪ ♪ WHOA, FUCK ME, BABY ♪ ♪ I’M A TROLLEY BUS ♪ WELL, I’VE BEEN
AROUND BELLTOWN
QUITE A LOT. YOU KNOW, WE ALWAYS
STAY IN THIS AREA
IN SEATTLE. AS YOU FREQUENT
AN AREA, IT DEVELOPS
ITS OWN HISTORY. YOU KNOW A FEW THINGS,
AND THEY GRADUALLY
SLIP INTO THE PAST. ♪ IT’S AN INDEPENDENT LIFE ♪ ♪ AND YOU WANT
TO SEE YOUR EYES ♪ ♪ REFLECTED IN THE WORLD ♪ ♪ SO YOU GO DOWN 4th
TO BLANCHARD ♪ ♪ AND TURN RIGHT
ON ROC LA RUE ♪ ♪ PAST THE CROCODILE ♪ ♪ THEN YOU SLIDE
DOWN 4th AGAIN ♪ ♪ WHERE THE CLAREMONT
USED TO BE ♪ ♪ C-L-A ♪ ♪ R-E-M ♪ ♪ O-N-T ♪ ♪ THEN YOU FIND THE UZBEK… ♪ IT’S ALWAYS MADE BE A BIT
EMBARRASSED ABOUT BEING–BEING A FOCAL POINT,
BEING A PERFORMER, BEING A STAR, IF YOU LIKE. IF PEOPLE STARTED GOING, “WOW!
ROBYN, WE LOVE YOU,” I’D ALWAYS THINK, “OH, FUCK OFF. “YOU DON’T, YOU KNOW.
YOU CAN’T LOVE ME. SORRY, MATE. I’M OFF.” YOU KNOW, I WANT TO SKULK
IN THE SHADOWS, BUT I ACTUALLY NOW ENJOY BEING,
YOU KNOW, PRINCESS ROBYN BOUNDING AROUND ON STAGE, BLOWING KISSES,
GRINNING AT PEOPLE, AND SPRAINING MY BACK, AND I THINK IT’S BEING
WITH THIS LOT. I JUST FEEL BROUGHT TO LIFE. ♪ NOW I’M IN MY ELEMENT ♪ ♪ I’M WHERE I OUGHT TO BE ♪ ALL THE TIME I’VE BEEN
COMING TO SEATTLE,
THE LAST 15 YEARS, THIS CAR WASH
HAS BEEN HERE, AND THIS IS
THE ELEPHANT THAT
DOESN’T ROTATE, AND THEN RIGHT BY IT
IS THE ELEPHANT THAT DOES ROTATE,
AND PEOPLE THINK I MAKE STUFF LIKE
THAT UP, BUT MORE OFTEN
THAN NOT, I’M JUST TRANSPLANTING IT
FROM ONE AREA AND MOVING IT
INTO ANOTHER. YOU KNOW, IT’S LIKE SAYING,
“WELL, IS A HORSE WEIRD?” WELL, A HORSE IS WEIRD
IF IT’S IN AN AEROPLANE, ESPECIALLY IF IT’S
IN BUSINESS CLASS. YOU KNOW, A HORSE IS
NOT WEIRD IN A FIELD. AN ONION MAKES PERFECT SENSE
SURROUNDED BY OTHER ONIONS AND SHALLOTS AND STUFF,
BUT IT LOOKS MORE OUT OF PLACE IF YOU FIND IT WORKING
FOR THE MINISTRY OF DEFENSE. NOW, YOU SEE, LOOK.
THIS IS A TRAGIC SPECIMEN. THIS IS WHAT HAPPENS
WHEN CONE ABUSE OCCURS, WHICH IS OF COURSE
ALL TOO OFTEN. I MEAN, A CONE WHICH
STARTED LIFE PROBABLY HEALTHY AND FULL OF WHATEVER
EXPECTATIONS
A CONE MIGHT HAVE, WE CAN SEEN NOW
IN A KIND OF PITIFUL, SHATTERED STATE OUTSIDE
EASY STREET IN SEATTLE. Man: IT’S VERY SAD. I MEAN, I CAN–I CAN–
WHAT CAN YOU DO? YOU KNOW, IT’S LIKE
PUTTING A BANDAGE
ON THE DEAD REALLY. I MEAN, YOU CAN PUT
THE LITTLE SPECS ON IT. [BAND PLAYING] Hitchcock: AT THIS TIME,
WE’LL GO UP TO
PETER’S APARTMENT WHILE WE’RE LOADING
INTO THE CROC. OK. AND PETER AND I
WILL RUN THROUGH A COUPLE OF SONGS
IN THE APARTMENT
WITH–YEAH. YEAH. WELL, THEN
I WILL– I SHOULD TELL
PETER THIS, AS WELL. I DON’T KNOW WHERE HE IS. OH, WISE LAD. HE’S NOT EVEN REGISTERED. OK. LET’S JUST LOSE THAT ALTOGETHER. UH… [DIAL TONE] ♪ VERY BLACK LEGS
AND SPICY GOATEE ♪ ♪ IF YOU SEE GINO… ♪ NO. DON’T DO THAT. HELLO. OH, HELLO. OK. WE’LL JUST
COME THROUGH. ♪ I FEEL LIKE
A 3-LEGGED CHINCHILLA ♪ ♪ LA LA LA LA LA ♪ ♪ STANDING
ON A TABLE SO WIDE… ♪ HEY, PETER? ♪ I CAN’T SEE
OVER THE SIDE ♪ HEY, CHLOE.
IT’S JUST US AGAIN. OH. SORRY. CARLOS. OK. YOU GOT HIM. YES. ♪ 16 YEARS APART ♪ ♪ WE ARE ♪ ♪ 16 HANDS
THAT ONLY PLAY… ♪ Buck, voice-over: WHEN YOU PLAY
MUSIC TOGETHER FOR A LONG TIME AND ARE FRIENDS, I THINK YOU
TEND TO INFLUENCE EACH OTHER, AND I KNOW THAT–THAT
THINGS PASS AROUND. ROBYN AND I PLAY GUITAR VERY
SIMILARLY, AND WE ALWAYS HAVE. I MEAN, FROM THE FIRST TIME
WE PLAYED TOGETHER, THERE WAS A REAL SIMILARITY
IN OUR STYLES. HE FINGERPICKS,
AND I USE A FLAT PICK, BUT IT’S REALLY HARD
TO PICK APART WHO IS WHICH WHEN WE’RE RECORDING,
AND I GET–YOU KNOW, ONCE WE’D PLAYED TOGETHER
A LONG TIME, JUST THINGS– YOU KNOW, IDEAS PASSED
BACK AND FORTH. ♪ AWAY ♪ TRY THAT THING AGAIN. ♪ WALKING AWAY ♪ ♪ SOUND BREAKS ON WOOD ♪ ♪ I WAS NO GOOD ♪ ♪ I WAS YOUR FRIEND ♪ Hitchcock, voice-over: PETER
GRAVITATES TO A CERTAIN KIND
OF GUITAR SOUND, A CERTAIN KIND OF MUSIC,
AS DO I. IF WE’RE GONNA
GO ANYWHERE ELSE… AND PETER HAS SAID,
YOU KNOW, THAT HE’S
JUST TRYING TO DO WHAT I WOULD DO IF I HAD
AN EXTRA PAIR OF HANDS. YOU KNOW,
AND, UH–GOSH.
FROM THERE. WE DON’T HAVE TO COMMIT.
I’M JUST WONDERING. HE’S HAPPY TO PLAY
IN A LITTLE CLUB TO 70 PEOPLE, AND HE’S QUITE HAPPY TO,
YOU KNOW, HEADLINE
A GIG TO 100,000. HE SEEMS TO ACT EXACTLY
THE SAME WAY, YOU KNOW. IF HE’S INTO IT, HE’S INTO IT,
AND THAT’S IT REALLY. WERE LAID IN THE SUMMER, GGS THT THE STUFF I WAS PLAYING
THE BACK GARDEN AND THAT WE WERE RUNNING THROUGH
WITH EVERYBODY, I WOULD SAY THERE’S ABOUT 4
THAT WE’D DEFINITELY KEEP. ♪ WHAT YOU CALL FAITH ♪ DAD ♪ MAD♪ ♪ YOUR MOM AND DAD ♪ ♪ THEY’RE WHAT YOU HAD
OR NEVER HAD ♪ ♪ WE EVOLVE,
AND IT BREAKS MY HEART ♪ ♪ WE EVOLVE ♪ ♪ AND WE FALL APART ♪ FAITH♪ ♪ I CALL IT POLLUTION ♪ ♪ WHAT YOU BELIEVE ♪ ♪ IS GONNA KILL US ALL ♪ I KEEP EXPECTING THAT SOMEDAY
SOMEONE’S GONNA DISCOVER ONE HIS SONGS,
AND THEY’LL HAVE A HUGE HIT. I MEAN, HIS STUFF IS
VERY CATCHY, YOU KNOW. I THINK IT’S A GREAT SONG,
REALLY EMOTIONAL LYRICS TO ME. ♪ WE EVOLVE ♪ ♪ AND THANK ♪ ♪ FUCK FOR THAT ♪ ♪ WE EVOLVE ♪ ♪ IS THE WORLD STILL FLAT? ♪ Hitchcock, voice-over: PLAYING
MUSIC JUSTIFIES EXISTENCE. I OFTEN FEEL, YOU KNOW,
REALLY SHITTY AND POISONOUS, AND I THINK,
“I’VE JUST GOT LIFE WRONG,” AND THEN I’M THERE WITH A GUITAR
OR THERE WITH MY FRIEND–YOU
KNOW, MY MUSICIAN COLLEAGUES. WE’RE PICKING AWAY, AND WOOSH,
ALL THAT HORRIBLE, TOXIC IDIOCY THAT SEEMS TO FUEL HUMAN LIFE IS
ALL JUST TRANSFERRED INTO FUEL. ♪ WE EVOLVE ♪ [CHEERING AND APPLAUSE] [TELEPHONE RINGING] HELLO? WHO–WHO’S CALLING? TRACY. UH, YEAH. THIS IS ROBYN. I’M ON THE STREET. ROGER. OK. WHERE DO YOU THINK ROGER IS? ROGER HAS A BEARD AND GLASSES. UH, WHERE DID YOU LAST SEE HIM? OH, I SEE. UM… HANG ON. I CAN’T SEE ANYONE
WITH A BEARD AND GLASSES. RUCK. JEEZ. ANYONE SEEN ROGER? HA HA! NO. I WOULD CALL BACK IN, LIKE,
SORT OF 5 MINUTES OR SOMETHING. I CAN’T SEE HIM. I’M AFRAID I’M JUST PASSING BY,
SO I CAN’T MUTUALLY HELP YOU. OK. YOU’RE VERY WELCOME, TRACY. BYE. OH. LOOKING FOR ROGER. HEH HEH.

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7 thoughts on “Robyn Hitchcock: Sex, Food, Death ….and Insects”

  1. I don't want to be rude but I had no idea who this bloke was so I did a search through You Tube to find out more about him and haven't found a lot that I like about him or his music. He's a bit of a musical chameleon who tries to be like so many other acts. Cringeworthy. Only my opinion.

  2. Really starting to dig in to Robyn's discography now – I'm loving it! Can anyone help me and tell me the song at 18:45?

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