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  • 25 Questions

    As Reprinted from FOCUS Magazine — January 5, 1983

    The 25 most difficult questions you’ll be asked on a job interview

    Being prepared is half the battle.

    If you are one of those executive types unhappy at your present post and embarking on a New Year’s resolution to find a new one, here’s a helping hand. The job interview is considered to be the most critical aspect of every expedition that brings you face-to- face with the future boss. One must prepare for it with the same tenacity and quickness as one does for a fencing tournament or a chess match.

    This article has been excerpted from "PARTING COMPANY: How to Survive the Loss of a Job and Find Another Successfully" by William J. Morin and James C. Cabrera. Copyright by Drake Beam Morin, inc. Publised by Harcourt Brace Jovanovich.

    Morin is chairman and Cabrera is president of New York-based Drake Beam Morin, nation’s major outplacement firm, which has opened offices in Philadelphia.

    1. Tell me about yourself.

    Since this is often the opening question in an interview, be extracareful that you don’t run off at the mouth. Keep your answer to a minute or two at most. Cover four topics: early years, education, work history, and recent career experience. Emphasize this last subject. Remember that this is likely to be a warm-up question. Don’t waste your best points on it.

    2. What do you know about our organization?

    You should be able to discuss products or services, revenues, reputation, image, goals, problems, management style, people, history and philosophy. But don’t act as if you know everything about the place. Let your answer show that you have taken the time to do some research, but don’t overwhelm the interviewer, and make it clear that you wish to learn more.

    You might start your answer in this manner: "In my job search, I’ve investigated a number of companies.

    Yours is one of the few that interests me, for these reasons…"

    Give your answer a positive tone. Don’t say, "Well, everyone tells me that you’re in all sorts of trouble, and that’s why I’m here", even if that is why you’re there.

    3. Why do you want to work for us?

    The deadliest answer you can give is "Because I like people." What else would you like-animals?

    Here, and throughout the interview, a good answer comes from having done your homework so that you can speak in terms of the company’s needs. You might say that your research has shown that the company is doing things you would like to be involved with, and that it’s doing them in ways that greatly interest you. For example, if the organization is known for strong management, your answer should mention that fact and show that you would like to be a part of that team. If the company places a great deal of emphasis on research and development, emphasize the fact that you want to create new things and that you know this is a place in which such activity is encouraged. If the organization stresses financial controls, your answer should mention a reverence for numbers.

    If you feel that you have to concoct an answer to this question – if, for example, the company stresses research, and you feel that you should mention it even though it really doesn’t interest you- then you probably should not be taking that interview, because you probably shouldn’t be considering a job with that organization.

    Your homework should include learning enough about the company to avoid approaching places where you wouldn’t be able -or wouldn’t want- to function. Since most of us are poor liars, it’s difficult to con anyone in an interview. But even if you should succeed at it, your prize is a job you don’t really want.

    4. What can you do for us that someone else can’t?

    Here you have every right, and perhaps an obligation, to toot your own horn and be a bit egotistical. Talk about your record of getting things done, and mention specifics from your resume or list of career accomplishments. Say that your skills and interests, combined with this history of getting results, make you valuable. Mention your ability to set priorities, identify problems, and use your experience and energy to solve them.

    5. What do you find most attractive about this position? What seems least attractive about it?

    List three or four attractive factors of the job, and mention a single, minor, unattractive item.

    6. Why should we hire you?

    Create your answer by thinking in terms of your ability, your experience, and your energy. (See question 4.)

    7. What do you look for in a job?

    Keep your answer oriented to opportunities at this organization. Talk about your desire to perform and be recognized for your contributions. Make your answer oriented toward opportunity rather than personal security.

    8. Please give me your defintion of [the position for which you are being interviewed].

    Keep your answer brief and taskoriented. Think in in terms of responsibilities and accountability. Make sure that you really do understand what the position involves before you attempt an answer. If you are not certain. ask the interviewer; he or she may answer the question for you.

    9. How long would it take you to make a meaningful contribution to our firm?

    Be realistic. Say that, while you would expect to meet pressing demands and pull your own weight from the first day, it might take six months to a year before you could expect to know the organization and its needs well enough to make a major contribution.

    10. How long would you stay with us?

    Say that you are interested in a career with the organization, but admit that you would have to continue to feel challenged to remain with any organization. Think in terms of, "As long as we both feel achievement-oriented."

    11. Your resume suggests that you may be over-qualified or too experienced for this position. What’s Your opinion?

    Emphasize your interest in establishing a long-term association with the organization, and say that you assume that if you perform well in his job, new opportunities will open up for you. Mention that a strong company needs a strong staff. Observe that experienced executives are always at a premium. Suggest that since you are so wellqualified, the employer will get a fast return on his investment. Say that a growing, energetic company can never have too much talent.

    12. What is your management style?

    You should know enough about the company’s style to know that your management style will complement it. Possible styles include: task oriented (I’ll enjoy problem-solving identifying what’s wrong, choosing a solution and implementing it"), results-oriented ("Every management decision I make is determined by how it will affect the bottom line"), or even paternalistic ("I’m committed to taking care of my subordinates and pointing them in the right direction").

    A participative style is currently quite popular: an open-door method of managing in which you get things done by motivating people and delegating responsibility.

    As you consider this question, think about whether your style will let you work hatppily and effectively within the organization.

    13. Are you a good manager? Can you give me some examples? Do you feel that you have top managerial potential?

    Keep your answer achievementand ask-oriented. Rely on examples from your career to buttress your argument. Stress your experience and your energy.

    14. What do you look for when You hire people?

    Think in terms of skills. initiative, and the adaptability to be able to work comfortably and effectively with others. Mention that you like to hire people who appear capable of moving up in the organization.

    15. Have you ever had to fire people? What were the reasons, and how did you handle the situation?

    Admit that the situation was not easy, but say that it worked out well, both for the company and, you think, for the individual. Show that, like anyone else, you don’t enjoy unpleasant tasks but that you can resolve them efficiently and -in the case of firing someone- humanely.

    16. What do you think is the most difficult thing about being a manager or executive?

    Mention planning, execution, and cost-control. The most difficult task is to motivate and manage employess to get something planned and completed on time and within the budget.

    17. What important trends do you see in our industry?

    Be prepared with two or three trends that illustrate how well you understand your industry. You might consider technological challenges or opportunities, economic conditions, or even regulatory demands as you collect your thoughts about the direction in which your business is heading.

    18. Why are you leaving (did you leave) your present (last) job?

    Be brief, to the point, and as honest as you can without hurting yourself. Refer back to the planning phase of your job search. where you considered this topic as you set your reference statements. If you were laid off in an across-the-board cutback, say so; otherwise, indicate that the move was your decision, the result of your action. Do not mention personality conflicts.

    The interviewer may spend some time probing you on this issue, particularly if it is clear that you were terminated. The "We agreed to disagree" approach may be useful. Remember hat your references are likely to be checked, so don’t concoct a story for an interview.

    19. How do you feel about leaving all your benefits to find a new job?

    Mention that you are concerned, naturally, but not panicked. You are willing to accept some risk to find the right job for yourself. Don’t suggest that security might interest you more than getting the job done successfully.

    20. In your current (last) position, what features do (did) you like the most? The least?

    Be careful and be positive. Describe more features that you liked than disliked. Don’t cite personality problems. If you make your last job sound terrible, an interviewer may wonder why you remained there until now.

    21. What do you think of your boss?

    Be as positive as you can. A potential boss is likely to wonder if you might talk about him in similar terms at some point in the future.

    22. Why aren’t you earning more at your age?

    Say that this is one reason that you are conducting this job search. Don’t be defensive.

    23. What do you feel this position should pay?

    Salary is a delicate topic. We suggest that you defer tying yourself to a precise figure for as long as you can do so politely. You might say, "I understand that the range for this job is between $______ and $______. That seems appropriate for the job as I understand it." You might answer the question with a question: "Perhaps you can help me on this one. Can you tell me if there is a range for similar jobs in the organization?"

    If you are asked the question during an initial screening interview, you might say that you feel you need to know more about the position’s responsibilities before you could give a meaningful answer to that question. Here, too, either by asking the interviewer or search executive (if one is involved), or in research done as part of your homework, you can try to find out whether there is a salary grade attached to the job. If there is, and if you can live with it, say that the range seems right to you.

    If the interviewer continues to probe, you might say, "You know that I’m making $______ now. Like everyone else, I’d like to improve on that figure, but my major interest is with the job itself." Remember that the act of taking a new job does not, in and of itself, make you worth more money.

    If a search firm is involved, your contact there may be able to help with the salary question. He or she may even be able to run interference for you. If, for instance, he tells you what the position pays, and you tell him that you are earning that amount now and would Like to do a bit better, he might go back to the employer and propose that you be offered an additional 10%.

    If no price range is attached to the job, and the interviewer continues to press the subject, then you will have to restpond with a number. You cannot leave the impression that it does not really matter, that you’ll accept whatever is offered. If you’ve been making $80,000 a year, you can’t say that a $35,000 figure would be fine without sounding as if you’ve given up on yourself. (If you are making a radical career change, however, this kind of disparity may be more reasonable and understandable.)

    Don’t sell yourself short, but continue to stress the fact that the job itself is the most important thing in your mind. The interviewer may be trying to determine just how much you want the job. Don’t leave the impression that money is the only thing that is important to you. Link questions of salary to the work itself.

    But whenever possible, say as little as you can about salary until you reach the "final" stage of the interview process. At that point, you know that the company is genuinely interested in you and that it is likely to be flexible in salary negotiations.

    24. What are your long-range goals?

    Refer back to the planning phase of your job search. Don’t answer, "I want the job you’ve advertised." Relate your goals to the company you are interviewing: ‘in a firm like yours, I would like to…"

    25. How successful do you you’ve been so far?

    Say that, all-in-all, you’re happy with the way your career has progressed so far. Given the normal ups and downs of life, you feel that you’ve done quite well and have no complaints.

    Present a positive and confident picture of yourself, but don’t overstate your case. An answer like, "Everything’s wonderful! I can’t think of a time when things were going better! I’m overjoyed!" is likely to make an interviewer wonder whether you’re trying to fool him . . . or yourself. The most convincing confidence is usually quiet confidence.

  • Book Wishlist

    BOOKS THAT I’D LIKE TO OWN

    • The Mountaineers, Freedom of the Hills, 2nd Ed.
    • The Mountaineers, Freedom of the Hills, 3rd Ed
    • David Brower, Manual of Ski Mountaineering, 2nd Ed (and any editions after the 3rd)
    • Fred Beckey, Cascade Alpine Guide – Vol. 1, 1st Ed
    • Fred Beckey, Cascade Alpine Guide – Vol. 3, 1st Ed
    • Williams, Knox (?) The Snowy Torrents – anything after 1986
    • The Greater Spokane & Palouse Region Back Roads Cycling Guide
    • Spokane to Canada Cycling Tour
    • David Cameron, An Illusrated History of Snohomish County  (Oso Publishing) 2003 (earlier works by same author?)

     

    BOOKS THAT I’D LIKE TO WRITE

    • Cornucopia (the equivalent of Woodehouse’s book on Monte Cristo about the mining town in the Wallowas)
    • Backcountry Ski Gear (an update of the Vic Bein classic treating the new lightweight randonee gear, snowboard gear and new tele gear)
    • Mountain Loop (an update of the Majors & McCollum guide to Monte Cristo)
  • Book Keywords

    KEY WORD SEARCHES.

    climbing – all books about getting to the top of stuff
    climb guide – "where to" guides
    climb technique – "how to" books
    climb gear – small number of books about hardware
    climb literature – literature (mainly climbing narratives) about climbing, much of it away from the Cascades

    hiking – all books about trails and puting one foot in front of the other
    hike guide – "where to" guides
    hike gear – small number of books about gadgets
    snowshoe – books about hiking in the winter

    biking – all books about bicycles
    bike guide – "where-to" guides
    bike tour – technique for multi-day bike trips
    bike gear – hardware (mainly maintenance and repair books)

    skiing – all books about glisse sports
    ski tour – overnight ski trips
    ski mountaineering – sumits on skis
    ski technique – bend the knees, $5 please
    ski gear – tuning, waxing, etc

    mountain rescue – SAR
    first aid – injury treatment
    avalanche – snow slides

    natural history – all books about the environment
    plants – vegetable kingdom
    animals – birds, fish, mamals, etc.

    history – recorded (human) occurances
    railroad – books about one of the driving forces of our regional history

    geology – earth sciences
    mining – extractive industries

    photography – design and production of images
    paddle sports – kayak and canoe

    San Juans – islands in the north sound
    North Cascades – pretty much north of Mt. Rainier
    Mt. Rainier – the mountain you see from Seattle
    South Cascades – south of Mt. Rainier
    Eastern Washington – east of the crest (enchantments, chelan, teanneway, paseyten)
    Olympics – the peninsula (national park, beaches, mountains)

    Puget Sound – the metropolis

    Mt. Hood – the mountain you see from Portand
    Western Oregon – west of the cascades
    Eastern Oregon – high desert
    Wallowas – northeast mountains (eagle cap wilderness)

    British Columbia – vancouver island to the rockies
    Idaho – famous potatoes
    California – left coast
    Alaska – sourdoughs
    Southwest – arizona, new mexico, utah


    Europe
    – excluding the russian far east
    Himalaya – all of the big mountains
    Latin America – mexico, central america, south america

  • Robyn Hitchcock and the Egyptians – Luminous Groove 1 – Fegmania!

    yep rock records

    Robyn Hitchcock

    "It’s still odd for me to think of the 1980s as being in the past," Robyn Hitchcock says of Luminous Groove, the second in a trio of retrospective box sets gathering some of the revered English singer/songwriter/guitarist’s most enduring vintage recordings. "Back then, they were a baleful future that we refugees from the 1960s were marooned in. I never thought I’d get out alive, from Reagan, Thatcher and shoulder pads. But time wins again. This music was recorded as the compact disc was emerging and music was becoming more disposable. I’m glad we’re getting it out on vinyl this time."

    The five-CD, 90-track Luminous Groove (which is also being released as a set of eight vinyl LPs) combines three classic ’80s Hitchcock albums with a treasure trove of rarities, many of them previously unreleased, from the same era.

    In addition to 1985’s Fegmania!, 1986’s Element of Light and the 1985 live release Gotta Let This Gen Out! – all of which appear here in expanded editions featuring rare bonus tracks – the set features a pair of additional CDs that assemble an assortment of unreleased material. Subtitled Bad Case of History Vols. One and Two, the first disc focuses on studio demos and outtakes, while the second is comprised of previously unreleased live tracks. All five discs feature Hitchcock’s beloved backup combo the Egyptians.

    Robyn Hitchcock’s consistently iconoclastic output has established him as a world-class tunesmith, as well as a singular lyricist with an uncanny penchant for incisive whimsy and vivid surrealist metaphor. Hitchcock’s prolific and influential body of work spans more than three decades, from his late-’70s work as leader of seminal post-punk psychedelicists the Soft Boys to his subsequent releases under his own name. But many of Hitchcock’s devoted followers retain a particular affection for the mid-’80s years that are the focus of Luminous Groove. It was during that period that he became a regular presence on American stages, and began to build the rabidly devoted U.S. fan base that continues to support him more than two decades later.

    Luminous Groove also documents Hitchcock’s long and productive association with the Egyptians, which featured former Soft Boys Andy Metcalfe and Morris Windsor on bass and drums, respectively, as well as keyboardist Roger Jackson, who left the band following Element of Light. Hitchcock, Metcalfe and Windsor continued as a trio, recording a series of albums for A&M Records before going their separate ways.

    "For me, the period that Luminous Groove covers is the great arc between the Egyptians’ first U.S. tour in 1985 and our final one in 1993," says Hitchcock. "Inadvertently, we’d been part of the jangle revival that spawned R.E.M. and the Smiths, which was eventually washed away by Nirvana in the early 1990s."

    The three vintage Robyn Hitchcock and the Egyptians albums that anchor Luminous Groove are among the most celebrated releases in the Hitchcock oeuvre. Fegmania!, which marked the Egyptians’ recording debut as well as Hitchcock’s first-ever U.S. release (on Slash Records), features such enduring Hitchcock standards as "My Wife and My Dead Wife," "Heaven" and "The Man with the Lightbulb Head." Element of Light played a major role in expanding the artist’s American fan base, thanks to the enthusiastic airplay and press acclaim that greeted such tunes as "If You Were a Priest," "Raymond Chandler Evening" and "Lady Waters and the Hooded One."

    Gotta Let This Hen Out! is a persuasive document of Hitchcock and the Egyptians’ prowess as a subtly powerful live act. It also functions as a crash-course introduction to the early Hitchcock songbook, with memorable renditions of the Soft Boys chestnuts "Only The Stones Remain," "Kingdom of Love" and "Leppo and the Jooves," along with such early solo numbers as "Sometimes I Wish I Was a Pretty Girl," "Brenda’s Iron Sledge" and "The Cars She Used to Drive."

    "It’s funny how, from here in 2008, the 1980s seem more dated than the 1970s," Hitchcock observes. "Music and movies from the ’70s seem to have a classic patina, where ’80s stuff can sound tinny and brittle. By the time we recorded as the Egyptians, we were deep in the digital corridor, and the sounds of that era still cling to those recordings: chorused guitars, digital keyboards, and the snare-you-can-land-a-plane-on sound. At the time, a friend said ‘Wow, you sound so much less old-fashioned!’ Now it’s nostalgic to hear these records. I still love them, shoulder pads and all."

    While Luminous Groove’s three main albums rank with Hitchcock’s most popular work, the 32 tracks on the two Bad Case of History discs mark a significant addition to the Hitchcock catalogue. All but one of those tracks are previously unreleased, the lone exception being "Wild Mountain Thyme," originally recorded under the pseudonym Nigel and the Crosses for the long out-of-print Byrds tribute album Time Between. Included are many previously unheard Hitchcock compositions, as well as several live numbers on which he and the Egyptians reinvent the material with arrangements that diverge substantially from the songs’ studio incarnations.

    "The live material," Hitchcock says, "really shows what we were all about. Andy and Morris were very in synch as rhythm section and harmony singers, and what could feel like uptightness in the recording studio came through as tightness on stage. In 1992, we decided to get rid of the amps and full drum kit on stage, and to concentrate on the vocal sound. This is really apparent on songs like ‘Driving Aloud’ and ‘The Live-In Years.’ My favorite is the live ‘Globe of Frogs’ – great artificial tablas and piano!"

    "I still play many of these songs on these sets today," Hitchcock notes, adding, "Some of them feel like kid’s songs; others are more mature than I could have been then. A song is often a camera trained on the artist, telling them about their own situation in a detached way; John Lennon’s ‘Nowhere Man’ is a good example. I must have written hundreds like that. For me, songs are an emotional truth rather than a literal one. People are sometimes surprised that I don’t live in a house full of bats."

    Assessing the period that Luminous Groove chronicles, Hitchcock states, "I went into it aiming to create work that would last and also pay for me to live. I came out of it jaded by not fulfilling ambitions that I never had when I went in. In the course of this, however, I met many people, accumulated a quiver full of songs, and learned a lot. And I had a lot of fun."

  • Robyn Hitchcock and the Egyptians – Luminous Groove 2 – Gotta Let This Hen Out!

    yep rock records

    Robyn Hitchcock

    "It’s still odd for me to think of the 1980s as being in the past," Robyn Hitchcock says of Luminous Groove, the second in a trio of retrospective box sets gathering some of the revered English singer/songwriter/guitarist’s most enduring vintage recordings. "Back then, they were a baleful future that we refugees from the 1960s were marooned in. I never thought I’d get out alive, from Reagan, Thatcher and shoulder pads. But time wins again. This music was recorded as the compact disc was emerging and music was becoming more disposable. I’m glad we’re getting it out on vinyl this time."

    The five-CD, 90-track Luminous Groove (which is also being released as a set of eight vinyl LPs) combines three classic ’80s Hitchcock albums with a treasure trove of rarities, many of them previously unreleased, from the same era.

    In addition to 1985’s Fegmania!, 1986’s Element of Light and the 1985 live release Gotta Let This Gen Out! – all of which appear here in expanded editions featuring rare bonus tracks – the set features a pair of additional CDs that assemble an assortment of unreleased material. Subtitled Bad Case of History Vols. One and Two, the first disc focuses on studio demos and outtakes, while the second is comprised of previously unreleased live tracks. All five discs feature Hitchcock’s beloved backup combo the Egyptians.

    Robyn Hitchcock’s consistently iconoclastic output has established him as a world-class tunesmith, as well as a singular lyricist with an uncanny penchant for incisive whimsy and vivid surrealist metaphor. Hitchcock’s prolific and influential body of work spans more than three decades, from his late-’70s work as leader of seminal post-punk psychedelicists the Soft Boys to his subsequent releases under his own name. But many of Hitchcock’s devoted followers retain a particular affection for the mid-’80s years that are the focus of Luminous Groove. It was during that period that he became a regular presence on American stages, and began to build the rabidly devoted U.S. fan base that continues to support him more than two decades later.

    Luminous Groove also documents Hitchcock’s long and productive association with the Egyptians, which featured former Soft Boys Andy Metcalfe and Morris Windsor on bass and drums, respectively, as well as keyboardist Roger Jackson, who left the band following Element of Light. Hitchcock, Metcalfe and Windsor continued as a trio, recording a series of albums for A&M Records before going their separate ways.

    "For me, the period that Luminous Groove covers is the great arc between the Egyptians’ first U.S. tour in 1985 and our final one in 1993," says Hitchcock. "Inadvertently, we’d been part of the jangle revival that spawned R.E.M. and the Smiths, which was eventually washed away by Nirvana in the early 1990s."

    The three vintage Robyn Hitchcock and the Egyptians albums that anchor Luminous Groove are among the most celebrated releases in the Hitchcock oeuvre. Fegmania!, which marked the Egyptians’ recording debut as well as Hitchcock’s first-ever U.S. release (on Slash Records), features such enduring Hitchcock standards as "My Wife and My Dead Wife," "Heaven" and "The Man with the Lightbulb Head." Element of Light played a major role in expanding the artist’s American fan base, thanks to the enthusiastic airplay and press acclaim that greeted such tunes as "If You Were a Priest," "Raymond Chandler Evening" and "Lady Waters and the Hooded One."

    Gotta Let This Hen Out! is a persuasive document of Hitchcock and the Egyptians’ prowess as a subtly powerful live act. It also functions as a crash-course introduction to the early Hitchcock songbook, with memorable renditions of the Soft Boys chestnuts "Only The Stones Remain," "Kingdom of Love" and "Leppo and the Jooves," along with such early solo numbers as "Sometimes I Wish I Was a Pretty Girl," "Brenda’s Iron Sledge" and "The Cars She Used to Drive."

    "It’s funny how, from here in 2008, the 1980s seem more dated than the 1970s," Hitchcock observes. "Music and movies from the ’70s seem to have a classic patina, where ’80s stuff can sound tinny and brittle. By the time we recorded as the Egyptians, we were deep in the digital corridor, and the sounds of that era still cling to those recordings: chorused guitars, digital keyboards, and the snare-you-can-land-a-plane-on sound. At the time, a friend said ‘Wow, you sound so much less old-fashioned!’ Now it’s nostalgic to hear these records. I still love them, shoulder pads and all."

    While Luminous Groove’s three main albums rank with Hitchcock’s most popular work, the 32 tracks on the two Bad Case of History discs mark a significant addition to the Hitchcock catalogue. All but one of those tracks are previously unreleased, the lone exception being "Wild Mountain Thyme," originally recorded under the pseudonym Nigel and the Crosses for the long out-of-print Byrds tribute album Time Between. Included are many previously unheard Hitchcock compositions, as well as several live numbers on which he and the Egyptians reinvent the material with arrangements that diverge substantially from the songs’ studio incarnations.

    "The live material," Hitchcock says, "really shows what we were all about. Andy and Morris were very in synch as rhythm section and harmony singers, and what could feel like uptightness in the recording studio came through as tightness on stage. In 1992, we decided to get rid of the amps and full drum kit on stage, and to concentrate on the vocal sound. This is really apparent on songs like ‘Driving Aloud’ and ‘The Live-In Years.’ My favorite is the live ‘Globe of Frogs’ – great artificial tablas and piano!"

    "I still play many of these songs on these sets today," Hitchcock notes, adding, "Some of them feel like kid’s songs; others are more mature than I could have been then. A song is often a camera trained on the artist, telling them about their own situation in a detached way; John Lennon’s ‘Nowhere Man’ is a good example. I must have written hundreds like that. For me, songs are an emotional truth rather than a literal one. People are sometimes surprised that I don’t live in a house full of bats."

    Assessing the period that Luminous Groove chronicles, Hitchcock states, "I went into it aiming to create work that would last and also pay for me to live. I came out of it jaded by not fulfilling ambitions that I never had when I went in. In the course of this, however, I met many people, accumulated a quiver full of songs, and learned a lot. And I had a lot of fun."

  • Robyn Hitchcock and the Egyptians – Luminous Groove 3 – Element of Light

    yep rock records

    Robyn Hitchcock

    "It’s still odd for me to think of the 1980s as being in the past," Robyn Hitchcock says of Luminous Groove, the second in a trio of retrospective box sets gathering some of the revered English singer/songwriter/guitarist’s most enduring vintage recordings. "Back then, they were a baleful future that we refugees from the 1960s were marooned in. I never thought I’d get out alive, from Reagan, Thatcher and shoulder pads. But time wins again. This music was recorded as the compact disc was emerging and music was becoming more disposable. I’m glad we’re getting it out on vinyl this time."

    The five-CD, 90-track Luminous Groove (which is also being released as a set of eight vinyl LPs) combines three classic ’80s Hitchcock albums with a treasure trove of rarities, many of them previously unreleased, from the same era.

    In addition to 1985’s Fegmania!, 1986’s Element of Light and the 1985 live release Gotta Let This Gen Out! – all of which appear here in expanded editions featuring rare bonus tracks – the set features a pair of additional CDs that assemble an assortment of unreleased material. Subtitled Bad Case of History Vols. One and Two, the first disc focuses on studio demos and outtakes, while the second is comprised of previously unreleased live tracks. All five discs feature Hitchcock’s beloved backup combo the Egyptians.

    Robyn Hitchcock’s consistently iconoclastic output has established him as a world-class tunesmith, as well as a singular lyricist with an uncanny penchant for incisive whimsy and vivid surrealist metaphor. Hitchcock’s prolific and influential body of work spans more than three decades, from his late-’70s work as leader of seminal post-punk psychedelicists the Soft Boys to his subsequent releases under his own name. But many of Hitchcock’s devoted followers retain a particular affection for the mid-’80s years that are the focus of Luminous Groove. It was during that period that he became a regular presence on American stages, and began to build the rabidly devoted U.S. fan base that continues to support him more than two decades later.

    Luminous Groove also documents Hitchcock’s long and productive association with the Egyptians, which featured former Soft Boys Andy Metcalfe and Morris Windsor on bass and drums, respectively, as well as keyboardist Roger Jackson, who left the band following Element of Light. Hitchcock, Metcalfe and Windsor continued as a trio, recording a series of albums for A&M Records before going their separate ways.

    "For me, the period that Luminous Groove covers is the great arc between the Egyptians’ first U.S. tour in 1985 and our final one in 1993," says Hitchcock. "Inadvertently, we’d been part of the jangle revival that spawned R.E.M. and the Smiths, which was eventually washed away by Nirvana in the early 1990s."

    The three vintage Robyn Hitchcock and the Egyptians albums that anchor Luminous Groove are among the most celebrated releases in the Hitchcock oeuvre. Fegmania!, which marked the Egyptians’ recording debut as well as Hitchcock’s first-ever U.S. release (on Slash Records), features such enduring Hitchcock standards as "My Wife and My Dead Wife," "Heaven" and "The Man with the Lightbulb Head." Element of Light played a major role in expanding the artist’s American fan base, thanks to the enthusiastic airplay and press acclaim that greeted such tunes as "If You Were a Priest," "Raymond Chandler Evening" and "Lady Waters and the Hooded One."

    Gotta Let This Hen Out! is a persuasive document of Hitchcock and the Egyptians’ prowess as a subtly powerful live act. It also functions as a crash-course introduction to the early Hitchcock songbook, with memorable renditions of the Soft Boys chestnuts "Only The Stones Remain," "Kingdom of Love" and "Leppo and the Jooves," along with such early solo numbers as "Sometimes I Wish I Was a Pretty Girl," "Brenda’s Iron Sledge" and "The Cars She Used to Drive."

    "It’s funny how, from here in 2008, the 1980s seem more dated than the 1970s," Hitchcock observes. "Music and movies from the ’70s seem to have a classic patina, where ’80s stuff can sound tinny and brittle. By the time we recorded as the Egyptians, we were deep in the digital corridor, and the sounds of that era still cling to those recordings: chorused guitars, digital keyboards, and the snare-you-can-land-a-plane-on sound. At the time, a friend said ‘Wow, you sound so much less old-fashioned!’ Now it’s nostalgic to hear these records. I still love them, shoulder pads and all."

    While Luminous Groove’s three main albums rank with Hitchcock’s most popular work, the 32 tracks on the two Bad Case of History discs mark a significant addition to the Hitchcock catalogue. All but one of those tracks are previously unreleased, the lone exception being "Wild Mountain Thyme," originally recorded under the pseudonym Nigel and the Crosses for the long out-of-print Byrds tribute album Time Between. Included are many previously unheard Hitchcock compositions, as well as several live numbers on which he and the Egyptians reinvent the material with arrangements that diverge substantially from the songs’ studio incarnations.

    "The live material," Hitchcock says, "really shows what we were all about. Andy and Morris were very in synch as rhythm section and harmony singers, and what could feel like uptightness in the recording studio came through as tightness on stage. In 1992, we decided to get rid of the amps and full drum kit on stage, and to concentrate on the vocal sound. This is really apparent on songs like ‘Driving Aloud’ and ‘The Live-In Years.’ My favorite is the live ‘Globe of Frogs’ – great artificial tablas and piano!"

    "I still play many of these songs on these sets today," Hitchcock notes, adding, "Some of them feel like kid’s songs; others are more mature than I could have been then. A song is often a camera trained on the artist, telling them about their own situation in a detached way; John Lennon’s ‘Nowhere Man’ is a good example. I must have written hundreds like that. For me, songs are an emotional truth rather than a literal one. People are sometimes surprised that I don’t live in a house full of bats."

    Assessing the period that Luminous Groove chronicles, Hitchcock states, "I went into it aiming to create work that would last and also pay for me to live. I came out of it jaded by not fulfilling ambitions that I never had when I went in. In the course of this, however, I met many people, accumulated a quiver full of songs, and learned a lot. And I had a lot of fun."

  • The Stills – Logic Will Break Your Heart

    pitchfork

    Stills:
    Logic Will Break Your Heart
    [Vice/Atlantic; 2003]

    Beware of lazy critics trying to turn us all into velcro-magnons. This album is not a "classic." As a member of that crucial demographic that has outlived Keats but not Jesus, I can understand why young’uns might consider Logic Will Break Your Heart poetic while the oldies find it miraculous. But those of us aged 27-32 have been thoroughly banged around by rock history revisions, fluctuations in irony, surrogate nostalgia, genre inbreeding, genre crossbreeding, and the pursuit of cool– we’ve grown up inside a pasticheteria, so we know that The Stills are what The Posies were in their day, and what The Libertines were a few minutes ago: stuck in a phantom zone called "not there yet," and possibly because the personalities of their influences eclipse any sense of identity they could muster. The Stills are a complicated case, though, inspiring equal amounts of pleasure and horror, like that dream in which everyone has mozzarella genitals.

    Speaking of dreams, didn’t you want to believe the hype that this would be the album equivalent of what the film Donnie Darko was, a thrilling amalgam of eightiesness? The movie comprehensively homaged its forebears, dreaded its Republicans, and imaginatively conveyed the eerie and tragic. The Stills take some big cues from Darko’s soundtrack standouts Echo & The Bunnymen, The Church, and Joy Division, but their retro arrangements, percussive guitar work, and "big" cavernous production have been beaten to the market by too many other bands, among them Interpol, The Organ, and several of those post-P.I.L., disco-bassline-abusing, Sly-and-the-Family-Stroke "dancepunks." The album does contain some fascinatingly elliptical "political" material, most notably "Lola Stars and Stripes" and "Let’s Roll", which begins, if I can figure out Tim Fletcher’s oversexed slur: "Lie on the floor of the runway, babe, then/ Wait for the ride/ We’ll have a comfortable flight/ Don’t be afraid to be afraid here with me." This post-boxcutter tune goes on to discuss plunging into wormholes, providing a "fanciful" take on the terror-war kickoff, and furthering the Donnie Darko connections. (The song definitely outperforms Neil Young’s "Let’s Roll", which is karmically funny, considering that a barrage of CSN&Y is what comes up when one seeks file-sharers for "Stills.")

    And about Tim Fletcher: he is the rare singer who is too proficient. This indie-rock Streisand is perfectly modulated throughout the album: guttural Bowie here, castrati Coldplay there, to the point that one never buys his band’s rapturous lyrics. Straightjacketed by overproduction, no amount of Reagan-jangle lends him the requisite gone-daddy-gone-ness.

    And about that hit single: "Still in Love Song" is, of course, protectively and cynically titled, since the song repeats "still in love" as many times as our gubmint barks "weapons o’ mass destruction" in hopes that we memorize and internalize it (sigh, at the illogic of patriotism breaking ones’ heart). This old Motown technique confirms that the song "bumps," but denies it "tha bomb" status, especially since it’s a bait-and-switch considering the rest of the album’s non-club sound. What makes matters more desperate is that "Still in Love Song" was already released on the band’s debut EP, and will probably appear on their sophomore LP as "I Still Know You’re in Love Last Summer" and later it will be their only entry on Cheney Beat!, the future K-tel compilation of hits from our epoch. When the chorus goes from minor to major during the breakdown, you can hear God’s hernia acting up.

    In his recent book The Middle Mind, novelist Curtis White decries post-modern pluralism as the horny hypocrite that it is, and too often, The Stills try to commandeer a three-way between their savvy, their dopeyness, and their savvily dopey pop heritage. See their song titles: you get compelling poetry such as "Gender Bombs" and "Yesterday Never Tomorrows", cliches such as "Ready for It" and "Love and Death", and insider references such as "Of Montreal" and "Allison Krausse". (The Middle Mind’s perfect work of art: eighties pastiche Blue Velvet, about the banality of evil, the banality of good, and the banality of banality.)

    BEST SONG: "Animals and Insects", by far. The only number that flirts with both lo-fi production and Schneider TM-style eclecto-rash, this track thanks The Cure for their Seventeen Seconds drum stylings and even lends a gorgeous melodrama to the sororitese mantra "oh my god." Did I mention that the ditty is about mass murder? When those drums explode, I’m like, brainwash me, you Canadian New Yorkers! Teach me to shoegaze, because this eye-level perspective shit is not working out!

    CREEPINESS: Too many of these tracks would work in a fitness center, between Bon Jovi’s "It’s My Life" and The Fabulous Thunderbirds’ "Tuff Enuff", as we vain flexers unwillingly act out slave-ship scenes from Ben-Hur on the cardio modules.

    Haters hear pop/punk and decry The Stills as an Alkaline Quartet deserving of a slot on the Pizza Hut jukebox. The band’s 9-11 stuff might be better than Portastatic’s nasal wimpout Summer of the Shark, but I still say that liking The Stills would be like sleeping with a Frankenpartner made out of one’s past lovers. Boo. Hiss. Give us Barabbas! Give us Dukakis! Damn, I hope this Perfect Strangers shirt is cool. Who you calling hipster, hipster?

    – William Bowers, November 3, 2003

    1. Lola Stars and Stripes (Album Version) 3:49
    2. Gender Bombs (Album Version) 4:00
    3. Changes Are No Good (Album Version) 3:41
    4. Love and Death (Album Version) 4:15
    5. Of Montreal (Album Version) 4:27
    6. Ready For It (Album Version) 5:20
    7. Let’s Roll (Album Version) 4:21
    8. Allison Krausse (Album Version) 3:06
    9. Animals + Insects (Album Version) 3:38
    10. Still In Love Song (Album Version) 3:40
    11. Fevered (Album Version) 4:01
    12. Yesterday Never Tomorrows (Album Version) 5:20

  • The Breeders – Mountain Battles

    Pitchfork

    It’s generally bad critical form to reference the record company-supplied bio in a review, but the one-pager accompanying the Breeders’ Mountain Battles is worth mentioning: It’s written by Josephine Wiggs, who played bass on the band’s first two albums but left in the late 1990s while the Breeders withered in a seemingly interminable state of inertia. That Wiggs has resurfaced after a decade to play the role of Breeders cheerleader speaks volumes about the kind of faith and goodwill Kim and Kelley Deal have accrued over the years, despite a career that’s nearly derailed on more than a few occasions due to the sisters’ well-documented substance abuse and the group’s peculiar recording habits and revolving-door rhythm sections. After hearing Mountain Battles, Wiggs admits her reaction was: "Why aren’t I playing on this album?" Her excitement is genuine– Mountain Battles is indeed the best Breeders album since 1993’s Last Splash.

    Which, of course, isn’t saying a helluva lot, given that the 15 years in between have produced but one official record: 2002’s Title TK, whose nine-years-in-the-waiting build-up was far too great a weight for its brittle, often sluggish low-fi pop oddities to withstand. In lieu of a return-to-form, we simply had to be content with the fact that the Breeders had returned at all. However, in contrast to all the uncertainty that hung over the band pre-Title TK, the Breeders approached Mountain Battles from a position of relative stability, with bassist Mando Lopez, drummer Jose Medeles, and producer Steve Albini all returning for another go; the six-year gap between that album and Mountain Battles is easily accounted for by Kim’s entry into rehab in 2002 and the subsequent Pixies reunion tours that kept her on the road for the better part of 2004-05. But true to the Breeders tradition of tellingly apropos album titles (the hermetically sealed claustrophobia of 1990’s Pod, the breakthrough/burn-out of Last Splash, the work-in-progress feel of Title TK), Mountain Battles suggests that all those Pixies paychecks don’t make the Breeders’ business any easier. If Title TK was a tentative first step back into the public eye, Mountain Battles finds Kim and Kelley proudly venerating the Breeders’ battle-scarred history and bull-headed perseverance.

    Like Last Splash’s "New Year", Mountain Battles’ "Overglazed" is more intro than proper opener: Over an ascendant surge of swirling backward-looped guitars and crashing drums, Kim repeats the song’s lone lyric– "I can…I can feel it!"– like someone who’s just woken from a coma. Or, in her case, it’s someone who’s reconnected with a muse that only seems to appear every half-decade or so, which would explain her tendency to linger on a feeling: "Night of Joy" plays up the contrast between its sweet, girl-group melody and the song’s hauntingly absent ambience (much like Kim’s star cameo on Sonic Youth’s 1995 creeper "Little Trouble Girl"); the optimistic rebirth narrative of "We’re Going to Rise" playfully jibes with the song’s lethargic waltz rhythm, as if slowing down the action lets her better savor the moment of peace.

    With such deliberately spare presentation, Mountain Battles takes some time to warm up to (and new-wave toss-offs like "Bang On" still carry traces of Title TK’s song-sketch incompletion), but then Kim and Kelley Deal’s pretty sing-song harmonies and affable Ohio charm can distract us from how difficult the Breeders’ music can be– both for them as players and us as listeners. By this point, that very sense of struggle is intrinsic to the Breeders sound: It’s pretty amazing that after all those years of line-up changes and aborted recording sessions, the Breeders pretty much sound exactly the same as they ever did, the quirks, hiccups, and sputters once attributed to a certain amateurish enthusiasm sounding ever more like purposeful components of their bubblegum bricolage. (See: the basement-Zeppelin chug of "No Way".)

    No, there isn’t a "Cannonball" here, but the buoyant, bass-driven strutter "Walk It Off" makes for a dandy companion piece to Pod’s "Only in 3’s"; Kelley’s power-pop pick-me-up "It’s the Love" gleams with a "Divine Hammer" shimmer; and the sisters’ voices have never sounded finer than on the country-harmony duet "Here No More". But Mountain Battles’ air of revitalization– the thing that has Wiggs wishing she had her old job back– is characterized not just by these straight pop shooters, but the apparent glee with which the Deals toss out the curveballs: the Teutonic-tongued oompa-loompa punk of "German Studies", the Spanish-sung slow dance "Regalame Esta Noche" and the bizarro rumble-in-the-jungle group chant of "Istanbul". Once upon a time, bands used to model their careers on copping the Breeders’ moves (see: Salt, Veruca). Mountain Battles’ greatest success is it makes that very idea seem once again like both an admirable ideal, and an unachievable one.

    — Stuart Berman, April 9, 2008

  • Pygmalion 2009 Vol 21 – Iron & Wine

    here is the info file from Dime

    Iron & Wine
    September 19th, 2009
    Krannert Center for the Performing Arts (Tryon Festival Theater) (8:45 pm)
    Urbana, IL, US

    Source: SP-BMC-2>SPSB-10(flat)>R-09(24/48)
    Location: ~60 feet from right stack
    Editing: Audacity (fades, amplified, limiting), r8brain (downsample/dither), CDWave (splits), TLH (FLAC level 8)

    01. Such Great Heights [The Postal Service] – 3:00
    02. Woman King – 3:57
    03. Sunset Soon Forgotten – 3:55
    04. Upward Over the Mountain – 4:17
    05. Peace Beneath the City – 4:14
    06. Naked as We Came – 3:09
    07. He Lays in the Reins – 3:06
    08. banter – 1:39
    09. The Trapeze Swinger – 9:01
    10. Mouth of the River – 4:43
    11. Lion’s Mane – 3:25
    12. Resurrection Fern – 4:48
    13. Sodom, South Georgia – 5:30
    14. Flightless Bird, American Mouth – 5:39
    Encore:
    15. A History of Lovers – 4:01

    The Books opened
    Such Great Heights cuts in (I left the hold on…gah)
    Don’t sell, etc
    -rhinowing

  • T. Rex – Fleetfoot Voodoo Man

    Artist: – T Rex
    Date: – 1970, 71 & 72
    Venue: – Various – See Track list
    Location: – Various – See track list
    Source: – Soundboard
    Lineage: – Silver CD – EAC (Secure Mode) WAV – Trader’s Little Helper – FLAC (level 8)
    Bootleg Title: – Fleetfoot Voodoo Man
    Label: – TVCD
    File size: – 404MB
    Quality: – Excellent

    This is volume three, of a 4 CD series called "When I Need TV I Got T Rex" the title comes from a famous line in Mott The Hoople’s, All The Young Dudes.

    This CD contains live material from 1971 & 1972 with one bonus clip from 1970. Sleeve notes state that all recordings, with the exception of tracks 10 – 13 are taken from master tapes, not broadcast tapes. The quality throughout is excellent, this is live, vintage T Rex at it’s best. Full recording details and history are included in the extensive artwork in this torrent.

    TRACK LIST
    Radio Bremen, Germany, 1st October, 1971
    1. Jeepster
    2. Life’s A Gas
    3. Baby Strange
    Radio Bremen, Germany, Early February, 1971
    4. Ride A White Swan
    5. Jewel
    Cockpit Theatre, Marylebone, London, 8th December, 1971
    6. Jeepster
    7. Cadilac
    8. Spaceball Ricochet
    9. Telegram Sam
    Taverne de l’Olympia, Paris, France, 28th January, 1971
    10. Jewel
    11. Ride A White swan
    12. Elemental Child
    13. Summertime Blues
    Chateau d’Herouville, Paris, France, 3rd February, 1972
    14. Hot Love
    15. Jeepster
    16. Telegram Sam
    17. Cadilac
    BONUS TRACK
    Marc’s Flat, London, Summer, 1970
    18. Suneye