for horsemouth is has been a long holiday - he finished work in mid-may, he won’t be fully back at the grindstone until after the autumn equinox, and yet he won’t get paid (other than dribs and drabs) until the 3rd week of october. to add to this last year getting paid started a month early (woo-hoo) so it also finished a month early also, and horsemouth has had all his back tax, he’s even paying a little into a pension. result? horsemouth will be dipping his savings, dodging his rent, living on lentils until mid october.
but hey - the best part of a month spent abroad (ireland and porto), the best part of a month spent in the cloud forest, the best part of a month spent at his parents, and (best of all in horsemouth’s humble opinion) it will be three gigs played (one as the musician of bremen, one as musicians of bremen, one at the monkey-on-a-stick party as who knows yet) and new tracks recorded.
later he goes to record with howard.
they should (of course) have recorded the gig(s) in some fashion - b-boys got to document.
last night there was an online discussion of john fahey’s live in tasmania - an unlikely recording event (but true). he plays his way through waltzing matilda - using the techniques from his immediately prior album yes! jesus loves me - teasing apart the victorian conventions. he reworks his older tunes under changed titles -tiger is lion, tasmanian two-step is hawaiian two-step/ spanish two-step and return of the tasmanian tiger is revolt of the dyke brigade. the approaching of the disco void is a re-working of wine and roses.
in a typical fahey move indian-pacific r.r. blues is actually beverly, a studio recording from his album after the ball with added applause (at least according to wikipedia).
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