Here is the transcription of a review of Robyn's 9/29 shown in Seattle. The review appears in the October 11-25 issue of "The Rocket", which is a northwest music and entertainment guide.

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ROBYN HITCHCOCK
The Backstage, Seattle, 9/29

They say the devil has all the best tunes. He must have been at the club that night, because he gave more than a few to Robyn Hitchcock; not that the man needs them. Since the days of the Soft Boys, he's been doing nicely by himself, thank you. Whether it was songs about tomatoes or tiny pink insects that are really bombers, this was a typical Hitchcock performance, a theater of the moderately absurd paraded before us. Appearing solo, his eccentric charm was quite effortless. He didn't have to win over the full house; they were his from the moment he walked onstage.

It's Robyn's slightly loopy world view and wonderful between-song prattle that gets written about, but one thing that tends to be ignored is his songwriting style. While he exists somewhere that is outside time, he is, in fact, quite the child of the '60s. His work mixes classic pop structures, left-field weirdness of English psychedelia (a lot of his material isn't that far removed from Syd-era Floyd, for example) and guitar techniques of traditional Britfolk. These elements made his version of Hendrix's "Wind Cries Mary," a particularly interesting and curiously apt choice for a cover song. Robyn's no Jimi, but he _is_ a vastly underrated guitarist, whether on the acoustic, utilizing a number of different tunings, or on the electric, where he could move a little further out still.

More recognizable material, like "Glass Hotel" and the deliciously lush "I Got a Message for You" ("It's about why the English reproduce"), got the best reaction from the audience, most of whom seemed more familiar with the idea of Robyn Hitchcock than his work. That's fine because, like some improvising magician, you never knew quite what he was going to pull from his hat. It was good that he steered clear of the "hits"--no "Beatle Flesh No. 1" (sic) or "Brenda's Iron Sledge," and the occasional cry for "My Wife and My Dead Wife" went, thankfully, unheeded. Instead, he took us on a circuitous path around the fringes of his career. This is what a Hitchcock show should be about; a stroll through an overgrown garden, where one is never quite sure whether that large plant in the corner will emit perfume or try to devour you. Or, possibly, both.

Whether it was good or bad (and actually, I've seen him better, if you need to know) doesn't quite matter. You can't judge Robyn by those standards. He simply is, and there's no one quite like him. Every performance is going to be a series of earthly (and sometimes earthy) delights.

Morris Teper, holding down a far-too-short middle slot on the bill, was the ideal choice for an opener. Having worked with both Captain Beefheart and Tom Waits, you knew this was a man who would be, at the least, slightly skewed. As it was, he turned out to be totally, wonderfully warped and completely exciting. Songs like "Then We'll Sail," and "Scratch o'Life" echoed his previous employers well, but they were more than shot through with his own brand of romanticism. It was to the eternal shame of the crowd that many of them--supposedly revelers in the strange--decided to talk through his set. Yet they'd been happy to receive Tiddas, the Australian women who opened. Granted, they were very professional, an Indigo Girls Jr. with spot-on harmonies, enthusiasm, and large amounts of liberal guilt, but this wasn't a night for professionalism. It was an evening when the unlikely should have been allowed to become the possible, sprout dragonfly wings, and take to a cartoon sky.
CHRIS NICKSON


The Seattle show was the best I've ever been to. The Backstage is a wonderful venue with a good stage, a small floor area, and terraced tables going around; I'd guess five hundred people but I may be way off. We opted for the floor to get a closer view (and easier access to the bar). I'm an Oregonian and have been for most of my life, but I have to admit that there was something about the atmosphere and the crowd that put the Portland show to shame (People were dressed as Devils and Ghosts and were openly sharing their recreational um...foliage). Details like this made me feel that the crowd was more 'into' the show. Again Tiddas opened up to a good reception (they are now touring with Billy Bragg). Morris Tepper didn't fare as well since the crowd was getting restless. I think Robyn sensed the 'vibe' when he came out because he seemed to put more energy into the show than in Portland. The sound system was definitely better; Robyn chatted quite a bit more than in Portland and he played several more songs. He paid tribute to Jimi Hendrix with a more than respectable version of The Wind Cries Mary that seemed to surprise a lot of us Robyn freaks standing at floor level. He also added I Something You, Message For You, and again ended with Kingdom of Love. The only songs he didn't repeat from the Portland show were Only the Stones Remain and The President. It took a long time for the crowd to give up on a second encore.

Like always, I was amazed at how flawlessly Robyn performed and played the guitar--never a dead note. Interestingly, no songs from Respect or Queen Elvis, and only Lysander from Persplex Island. The new songs went over very well; one that stands out was called (I hope I'm getting this right) Cool Bug Rumble. There was also one that I told myself I would remember that somehow got erased from my brain. My wife Lorrie stands by me in that such a song was played (both shows) and was extremely cool. The mystery song had something to do with the Devil and it must be new unless it somehow sneaked past me on a previous B-side. I had to double-check to see that You and Oblivion is not on the album of the same name and must also be new. A few more shows like this at the Backstage or any of Seattle hundred other clubs and we'll have to move.

We were treated last year to a solo-Robyn Portland show that was one of only a handful either right before or right after the Soft Boys reunion shows. I won't complain, but the Northwest has been exceptionally lucky to get these spontaneous, small venue shows when the tours are so short-lived.

Please feel free to E-Mail me your own experiences if you were at the show(s), and no, I was not the guy dressed as the Devil. Hopefully, we'll be doing this all over again, (with Eugene, Oregon hopefully added) after the record release. Now if we could only get Julian Cope!

Grant


Okay, a report on friday's show in Seattle:

Tiddas opened with a brief but enjoyable set. They weren't as overtly political as I had expected from reading the reviews of the past few shows.

Moris Tepper came onstage after too long a pause. I, for one, enjoyed his music. He leaned toward the experimental and unusual, but considering his background--sideman for Captain Beefheart and Tom Waits--his bizarre chord progressions and gruff voice were not surprising. One complaint: All his songs seemed to be in or center around the key of D. The crowd talked through most of his set, which I thought was very rude.

Robyn took the stage at about 11:40 with a remark about his hair: "I cut my hair before I left London but my flight took 3 weeks."

A great show!!! Robyn seemed to be on the mark Friday. Having seen him 6 previous times, I would rank this show among the top 2. A little too brief, but I really enjoyed the new songs.

Best moment: Lysander is one of my least favorite RH songs. However, the solo acoustic treatment really added something to the song. The solo guitar excursions that closed out "I'm Only You" and "You & Oblivion" were especially impressive.

Worst moment: "Kingdom of Love" really suffers without a full band. 'Nuff said.

Robyn looked trimmer than the past few times I've seen him. In spite of his greying bangs, he looked younger than ever. Very much like Paul McCartney. His voice was crystal clear and in tune the whole set (still hitting the high notes). And his playing? Well, he has either been practicing a lot, or I don't remember him being such a GREAT player. Lotsa between song banter and introductions--very enjoyable.

Overall grade: A-. A slightly longer set and the deletion of "Kingdom of Love" would have made this an A+ performance.

Shirt Report: Main set he wore a yellow shirt with a green flower/purple stripe shirt that had lowercase "p's" lying on their faces.
Encore: white, collarless button-down shirt.

Beers to You,
Glen