Robyn Hitchcock 
09 July 1990
Melody Ballroom
Portland, Oregon

an (incomplete) slipkid68 master recording

WM-D3 recorder with stock mic > Maxell XL-II 100 master > Nakamichi CR-7A azimuth-adjusted playback > Sound Devices USBPre2 > Audacity 2.4.1 (24/96 capture) > iZotope RX and Ozone > resample to 16/44 > tracking and finishing with Audacity > TLH for SBE fix

run time: 47:04

1. intro
2. Cynthia Mask
3. "Andy, Can I Have Some Reverb?"
4. Madonna of the Wasps
5. "Reverb in the Choruses"
6. I Got the Hots
7. "Do You Think That Chandelier is Okay?"
8. I Used to Say I Love You
9. The Devil's Coachman
10. "Now Candle, Can You Hear Me?"
11. Chinese Bones
12. Weh Weh Hep Uh Hole (incomplete)
13. "I've Already Played That"
14. Glass Hotel
15. Wild Mountain Thyme (incomplete)
16. I Got a Message (incomplete)
17. One Long Pair of Eyes (incomplete)

Oh, to be young again and following Robyn Hitchcock as he played shows around "Eye," his magnificent 1990 acoustic LP. And to have fresh batteries: the juice began running out after about 40 minutes, something I rue to this day. The incomplete songs suffer from brief pitch issues as each cut-off approaches. There's a hint of clipping in a few places, too. While these may flash "for completists only," the straightaways sound very good. And that's most of what's here.

Content wise, only two songs from "Eye" appear on this recording, but contemporaries, a cover, and even the Soft Boys' "Weh Weh Hep Uh Hole" round things out. I gave the spoken interludes their own tracks; the first one highlights Hitchcock's sharp wit perfectly. Very little chatter or interference nearby, which makes for even playback.

In the midst of a four-record deal with A&M, Hitchcock released "Eye" on the indie Twin/Tone label. That speaks volumes about creativity and knowing how to best serve the music: "Eye" was odd and indirect, but that was its beauty. Where "I Often Dream of Trains" sprang from Hitchcock returning to square one, "Eye" feels even more grounded in that spirit of intention. Hitchcock again makes space for instrumentals and songs written and performed on piano, which shone brightly in the spare treatment. 

Whatever machinations at A&M allowed him to venture out elsewhere to release music like this is a story worth telling. (Hitchcock has stated little interest a memoir, which is really too bad; the pivot from "Eye" to "Perspex Island" would make an ideal sample chapter.)

The Melody Ballroom was kind to tapers, and that year Richard Thompson, Bob Mould, and Warren Zevon all played there. I don't recall its use for concerts beyond 1990; usually, Pine Street Theater (which gets an ironic shout-out) was the venue of choice. In 1992, Hitchcock and the Egyptians played at the Roseland Theater, then returned to Pine Street in '93 and '94 (by then called La Luna).

My friends at JEMS recorded the July 10, 1990 show in Seattle at the Backstage (on DAT) and the September '89 gig, too. Masters of Portland gigs from Pine Street in '89 and '93 need more work; my goal is to torrent them all in time. And I hope that another taper attended July 9 and emerged with a complete recording.

For now, please enjoy this, and of course support Robyn Hitchcock: his 2017 self-titled LP is a gem, and he's performed regularly ("Live From Sweet Home Quarantine") during the pandemic.

Share this freely, and for free!

- slipkid68