Review by Steve McGowan from Zub RecordsTonight’s show found one Robyn Rowan Hitchcock in extreme verbose mode. He could not stop talking, for better or worse. His pre-song rap involved lycanthropes “more and more werewolves around these days,” and “thinking about flying jellyfish,” which of course brought us to Bryan Ferry. Solo in Studio B (with the John and Yoko calendar returned), Reg did a superb version of ‘Take A Chance With Me’ from Roxy Music’s Avalon. He was again playing his Gibson Nick Lucas acoustic, wearing round National Health specs, and sounding very good. Once finished, there was a discussion of 9th chords, which Robyn described as “majesty and doom.”
Using the harmonica, Reg did a dubious version of ‘Don’t You (Forget About Me)’ by Simple Minds, a weird cover done very folk-style. Emma Swift appeared, wearing her 1987 Pretenders T-Shirt. The duo did a fantastic version of John Lennon’s ‘Watching The Wheels.’ It was moving and wonderful, respectful, and mid-tempo. After, Emma commented “you are rich in monologues tonight, Hitchcock.” A second, even more suspect cover was Robert Palmer’s ‘Addicted To Love.’ Em and Reg were quite silly, and the best part was at the end when they sang “you’re addicted to Tubs.” Honestly, I wasn’t really sure why they did this one. They really seem quite egalitarian in accepting requests.
Emma left, Robyn switched to his Larivee acoustic and played a beautiful version of R.E.M. 's ‘King Of Birds’ from Document. This was in an open tuning and very pretty. Emma returned, and the duo surprised me with Echo & The Bunnymen’s ‘The Killing Moon,’ Em singing solo and, as usual, killing it. This was a brilliant cover. For the next song, Em played her Gibson acoustic along with Reg, and they did The Triffids ‘Wide Open Road.’ Again, she sang solo and this became a sad, sweet countryish lament.
Next was the obligatory Psychedelic Furs cover, ‘All That Money Wants.’ My issue with Reg singing Psych Furs is that their songs are so much like his, and vice versa. After, there was an extended discussion of Marmite versus Vegemite. The duo then did ‘Free Fallin’ by Tom Petty. I know they are pals with Benmont Tench, but I personally didn’t need to hear this one. I spent most of my life listening to Robyn Hitchcock, Elvis Costello, Graham Parker etc. instead of Tom Petty and Bruce Springsteen. I realize that music is not mutually exclusive, but I got the feeling Em and Reg might be playing to the cheap seats here.
They proceeded to make it all up when Emma sang ‘Don’t Dream It’s Over’ by Crowded House. It was sad and spectacular, until she lost the lyrics and it train-wrecked in the middle, which was a shame. They ended with a jokey version of The Human League’s ‘Don’t You Want Me,’ which mercifully cut off as time ran out.
I’ve loved every one of these shows, every week, but there was a feeling tonight that maybe Reg and Em might be trying too hard to please the patrons. I don’t expect them to be a karaoke machine. I’d love to hear covers that mean more to them, whether Bowie or Syd or Beatles or Neil Young. Plus the real mark of a Dolly Parton School of Beauty alum is playing “Coat of Many Colors.” If they’re into it.
Postscript: I wrote this review on Thursday after the Wednesday show, and I started feeling guilty, thinking maybe I was too harsh on Robyn and Emma, Then on Friday, they sent us the video (of the second show) of the Euro feed on Friday. Such nice folks!
Online review by Mark My WordsOn Wednesday, July 8th, Robyn Hitchcock and Emma Swift performed week 16 of their Stageit concert series, “Sweet Home Quarantine.” The theme this week was the 1980’s, part two. Robyn and Emma performed a great 80’s show in June, which I wrote about here. Wednesday’s show was another fun look at the decade, although it didn’t quite match the heights of the first 80’s show.
Robyn opened the show with a great Roxy Music song, “Take a Chance With Me,” from their last album, 1982’s Avalon. Robyn captured the elegant central riff of the song perfectly, a testament to his skill as a guitarist. I always love hearing Robyn sing Roxy Music/Bryan Ferry songs, and I’m hoping some week he’ll do a show of just those songs. He’s already done three of the eight non-instrumental songs from Avalon.
Robyn sang Simple Minds’ big hit “Don’t You (Forget About Me)” a song that was originally offered to Bryan Ferry, who turned it down. Robyn pulled out the harmonica for this tune, and according to the comments of other viewers, he had attempted to play the harmonica once before on a Stageit show and just about blew out the sound system. (I didn’t see that show.) But last week it sounded fine, although once Emma appeared, she made Hitcho ditch the harp rack very quickly.
Emma joined Robyn for a lovely version of John Lennon’s wistful “Watching the Wheels,” from Double Fantasy. It’s always a treat hearing Robyn sing John Lennon. Next up was a spirited version of Robert Palmer’s “Addicted to Love,” which Robyn and Emma changed at the very end to “Addicted to Tubs,” in honor of their cat Tubby.
REM’s “King of Birds” was a solo from Robyn, with superb guitar playing. Emma then got her solo on Echo and the Bunnymen’s “The Killing Moon.” As usual, Emma’s vocals were amazing. She was reading the lyrics off her phone, and still nailing it. Emma also debuted her guitar playing on “Sweet Home Quarantine” on a version of “Wide Open Road” by the Australian group the Triffids. It’s a lovely song that I hadn’t heard before.
Robyn sang solo on “All that Money Wants,” a Psychedelic Furs song. Emma returned to join Robyn for a lovely version of Tom Petty’s “Free Fallin’” a great example of how a much-overplayed song can benefit from a stripped-down arrangement. Emma had a great solo on “Don’t Dream It’s Over,” by Crowded House, one of those songs where I go, “No, I don’t know that song. Oh, THAT song!”
The last song of the night was a brief version of the Human League’s 1981 hit, “Don’t You Want Me.” Robyn sang the first verse in a very low voice, and Emma joined him for the chorus. That prompted me to watch the music video of Human League’s version of the song.