Glass Flesh

A Tribute to Robyn Hitchcock
performed by the voices and fingers of internet

TAPE 2
THE INFRA-DEAD CASSETTE

Cover artwork: Philip Downs (a.k.a. Hipp D. Snilow), of Malvern, England, UK. Contact: Simon Roberts

Design: D Teague of Santa Cruz, CA. Contact: M Gloster/D Teague, 7960B Soquel Dr,. Suite 214, Aptos, CA 95003

Side One

Side Two



SIDE I

AIRSCAPE/Happy Cactus & Other Rotting Flesh
Recorded "live" to 4-track, Christmas 1990
Paul Montagne: "No interpretation here, just blantantly copied. I even tried to sing with an English accent. Had my Telecaster all chorused out and everything. I mean, we're not all that gifted as musicians. Lots of heart but lacking in technique. I like the Velvet Underground and Neil Young cuz you can copy and improve on the sound, but not with Robyn. I told Robyn after a shows that I had done a version of Airscape and tried to replicate everything (except the backwards guitar intro) with my 68 Tele and he smiled and said, 'It didn't work did it...I used a Rickenbacker.'"
Jordan Anderson, keyboard; Darrell Casey, bass; David Casey, drums. keyboard;Colin Meloy, electric guitar; Paul Montange, 12-string, vocal
Rehearsed, recorded and mixed live in one take.

THE PRESIDENT/Polecats 4 Peace
Bruce Haemmerle, guitar, vocals; David Anderson, drums; Todd Roberts, bass

OLD PERVERT/Yammer-Jooks
4-tracked at Yammer-Jooks's home, Charlottesville, NC

QUEEN OF EYES/Bradley Skaught
Figured out, produced, engineered, played and mixed in about the time it takes to listen to it. I don't know all the words, but I'm sure they're really good.

KINGDOM OF LOVE/Kevin Slick
"Kingdom of Love," Kevin Slick's second outing here on Glass Flesh, according to the artist, "just sounded fun as I started playing acoustic style. 'Kingdom of Love' was not thought of as a funny version, but more of a spacious, open-ended version that might allow the song to breathe a little."

CITY OF SHAME/Ben Parke

FURRY GREEN ATOM BOWL/Crackity Jones
Recorded in a one room flat in El Paso, TX (in the pit of souls, country version, natch!) using boombox technology, Feb. 92. This was taped just before flying to Portland, OR to catch the Perspex tour!

I SOMETHING YOU/Modest Mr. Brown
"Another tune which I had just started playing," says the ever-so-modest Mr. Brown. "'I Something You' was recorded in about an hour's time."
Modest Mr. Brown, vocals, acoustic, Amiga 1200 synthesizer
Produced & engineered by MMB

MY WIFE AND MY DEAD WIFE/Mark Gloster and Big Rubber Shark
Imagine a yankee, poetically-challenged Robyn Hitchcock; Trent Reznor on Prozac; Stand Ridgway with a migraine; King Crimson without so much damned discipline; They Might Be Giants without the irritating squeeze box (but with the other irritating sonic implements). Consider the dire consequences of crossing Devo with Lou Reed, Frank Zappa with Mr. Rodgers, or Gary Numan with Baba Olatungi. That's what "Mark Gloster and Big Rubber Shark" is like.
Mark Gloster, voice, noises, sequencing, production, engineering; D Teague, backing vocals; (virtual) Big Rubber Shark, electronic performance with erratic, almost random steering mechanisms.
Full length album Monday's Lunch coming soon. Get it before it gets you!
Contact: MArk Gloster, 7960B Soquel Dr., Suite 214, Aptos, CA 95003

LOVE POISONING/Terry Marks
So the lead vocals does sound anything like Rew. I've got no idea how to play Rew, so I don't.

FLAVOUR OF NIGHT/Nismo S. Rebrot
"Flavour of Night", "Glass Hotel" and "I Used To Say I Love You" were regurgitated, in that order, by Nismo S. Rebrot during September and October of 1994. Rawdoh T. Whirg sung and co-gurgitated "I Used To Say...". Mr. E., son of Ensoniq, codename SQ1+, sung most electronic voices, accompanied only by sporadic cries from TX802, daughter of Yamaha, on "I Used To Say...". All operations were performed within a stone's throw, as the crow flings, from the green bells of Cardiff if if if if , Wales, UK. Thanks to Rawdoh and the University of Wales, without whom the regurgitation of "I Used To Say..." would still be stuck in my throat. I hope you can stomach it. Come on in my tent, but mind the guide rope.

SIDE II

MIDNIGHT FISH/King Nihilator
Ed Poole, vocals, bass, guitar, drum programming
Recorded 3/95 to cassette 4-track
I call my stuff "King Nihilator" because I've got this record co. called Nihilator Records, and, I dunno, I don't really like using just my name. A band name is so much more expressive -- unless you're famous, personal names means nothing. Unless, of course, they have a special connotation like &qyot;Newt", "Jehova", or "Dennis." Anyways, "Ed" seems to connote a blue collar slob who watches NFL football and guzzles Budweiser. I prefer microbrews.

INSANELY JEALOUS/Other Days

BRENDA'S IRON SLEDGE/Kevin Z. Slick

MR. DEADLY/Perc Barone (the Re-lover 3)
Recorded in his attic on a Tascam Porta-1, Pittsburgh, PA
"Who's off-key?"

I WATCH THE CARS/The Big Three
Recorded live with overdubs at Yammer-Jooks's home, Charlottesville, NC

IF YOU WERE A PRIEST/Mark Haemmerle
Regarding his rendition of "Priest," Mark Haemmerle simply says, "'If You Were A Priest' was the first song I heard on the radio and I liked the lyrics and music. I feel this song had a gothic sound to it so I added keyboards and tried to make it a little scarier sounding."
Mark Haemmerle, all instruments
Current band project: Sleepy Hollow

BELLS OF RHYMNEY/Polecats 4 Peace

RIDE/The Beaker People
Former members of the Moomins and Pre-emptive Sheep joined forces in Dunedin in 1992 to become The Beaker -- New Zealand's best kept secret! "'Ride'," says James Dignan, " already sounded Beatleesque. I can just imagine (pun intended) McCartney singing the 'Love me's' with Lennon adding the 'But they used to be trees.' And the 'million creatures yet unborn' bit is pure Lennon. Hence the Beatlesque ending. It has beena favorite since I first heard it. And it suits my vocal style."
James Dignan, guitar, vocals; Sam Campbell, backing vocals, bass; Otto, keyboards; Colin Edwards, guitar, backing vocals; a lump of plastic and silicon from Japan, drums

UNCORRECTED PERSONALITY TRAITS/Crakity Jones
"I was limited to acapella-style songs, and I listen to I Often Dream Of Trains religiously. Interpretation was due to limitations, both musical and technological. At the time of recording (Feb. 1992), I owned no instruments and my only recording device was a cheap boombox with a mixing mic input. I also had been listening to a lot of Brian Eno (the ones with lots of his 3 and 4 part harmonies)."

LOVE/Meat Ruiner
"She loves mashed potatoes and her hair resembles a potted fern if it were to grow from somebody's scalp. Although this has not influenced her singing. She is convinced that centipedes follow her at times only significant to them."
M.R., guitar, piano, cheesy keyboard, vocals & hiss
Engineered & produced by M.R.
Mixed by M.M.B. and S.P.

THE ABANDONED BRAIN/Encelis Sullenroc
Mastered Backwards in the Abandoned Basement
Encelis Sullenroc manipulated all implements.
Robyn's original is a bathtub classic, you can tell he dug songs like "Dark globe" and "Bike". My mix uses a bit of high seas digital priray, but for a not-for-profit comp like this ought to leave me high and dry, so I didn't use an alias. Here's to you Robyn, keep playing and we'll keep listening.

THE GHOST TRAIN SUITE/Terry Marks
Chost Train suite consists of I Often Dream of Trains (really should've brought the band in on this one) and How Do you Work This Train (it's just a parody, really).


All songs are the property of Robyn Hitchcock. This compilation is Copyright 1995, but may be reproduced freely. It is forbidden to charge money for this tribute beyond the cost of tape and postage.