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Ian Irvine (Hobson)

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· Muse of the Long-Haul: Thirty-One Isles of the Creative Imagination

· Trickster Gods and the Quantum Muse: Creativity and the Multiverse

· Hermesian Epidemics: Depression, Anxiety, Derealisation, Narcissism ,

· Hermes Negatively Polarised - Pt 5 Alchemy and the Imagination

· The Angel of Luxury and Sadness

· Notes on Creativity Revolutions: Modernism - A Literature of the Void?


Poetry
· Hiroshima Dance

· Three Poems in Platform 15

· Any Available Exit

· Spirits in Triples

· Tending the Grove - from the Taliesin-Ceridwen Sequence

· The Chase Across time (part 2)

· The Chase Across Time (Part 1)

· The World Rushed in (The Awen)

· Three Drops From the Cauldron

· The Ghost Narrates

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· Voyage of the Beagle poems at Artvilla.com

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  She Must be Sleeping (live) by Goya's Child (1) 1993.
by Ian Irvine (Hobson)
Tuesday, August 10, 2010
Rated "G" by the Author.

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Recent poems by Ian Irvine (Hobson)
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           >> View all 83




This is an early live version (recorded at the Golden Vine Hotel, in 1993) of 'She Must be Sleeping' by Goya's Child (1). The song featured constantly in the band's live set and, virtually unchanged, it was also played by Goya's Child (2) (eventually featuring on the Freedom Deep movie track at the film's climax). A digitally recorded later version is currently available on the web at You-Tube and GC 2's 'Reverbnation' site. A version recorded in Castlemaine in early 1993, when I was still in the band, was also played on radio a number of times - though there were problems with the mix. This is not that version - this version comes off the so-called 'Red Album' of Goya's Child (1).


The original jam session of this song (which is still in my possesion) is a remarkable instance of spontaneous 'creation'. It is well worth telling the story here in full. Every creative person should probably have a listen to the 'jam' that birthed this song (the version up here at present is not that version). Listening to the jam session again after many years it struck me that at the start one could almost feel the 'creature' that became the song enter the room, then struggle to be born over a period of ten minutes or so (all recorded).
 
I came to a band practice in early February of 1992 after receiving a birthday card from a former girlfriend. The image on the card was of a woman in the woods, partially frozen, trapped inside a gigantic block of ice - faery creatures were all around. In my head the words 'she must be sleeping' immediately formed. I took those words only into the big gloomy band area at Artspace thinking all the time about my earlier attempt at a song with the 'sleeping woman' theme but also about a song by a New Zealand band I'd liked for some years.

I began singing the mantra line a few times unconsciouely setting the key, the speed (slow) and a basic melody. Remarkably James on guitar, Whitey on synth, Richie on drums and Liam on bass immediately picked up on the mood - which was profoundly haunting and pregnant with expectation. I remember I was rocking to and fro on the ground with the mike trying to work out where the line wanted to take us. I struggled to move much further with the idea, however, until Liam jumped in on his mike repeating my line then adding to it - what would become the first verse 'She must be sleeping/she cannot be dead/ she must be sleeping/ oh the things that I said' ... Although his next two verses were never used he  advanced the verse melody line significantly and he delivered us a chorus (chilling almost supernatural in its emotional intensity).
 
A few minutes later, absorbed in the music and returning again to my thoughts concerning the 'sleeping woman theme', the next two verses formed in my mind (almost as a gift!). They've been used with only minor variation, ever since in most versions of the song: 'She's pale as the winter/ cold as the ice/ she has lips of crimson/ and many a vice ...' became the start of verse two. The third verse sings: 'And she must be dreaming/ of castles in air/ she must be dreaming/ I wish I was there ...' then repeats the earlier verse refrain 'and she must be sleeping ...' and so on. I don't know what Liam was thinking at the time, but I was specifically thinking of Caer Sidhe, famous mythic abode of the Welsh version of the White Goddess (according to Graves) - but also a place beyond life (a place, in fact, where the Celtic dead reside - hence the emotional resonance for me).
 
Ten minutes later the entire song was out after the most haunting spontaneous guitaring by James Mannix (backed up by Whitey on synth, who picked precisely the right synth sound for the song almost immediately) that I have ever heard. A visitation? A gift, perhaps, from who knows what corner of the cosmos? We'll probably never know - but such things do not happen often in a creative life. I still listen to that original recording every now and then - the guitaring was never quite repeated in later versions of the song ... When played live people routinely talked of the hairs standing up on the back of their scalp listening to She Must be Sleeping (recalling Emily Dickenson's theory of poetry, perhaps - but also, for me, Houseman's theory of true poetry).

The song has gathered, over the years, immense emotional resonance for me - partly due to personal experiences preceding my life but impacting on my life, and partly due to my own life experiences. It was only with the trigger of the birthday card, however, and the intuitiveness of the rest of the band on that day that She Must Be Sleeping became a song. To me this was the most feminist of GC (1) songs, at bottom it's about mythopoetic feminism in fact - but also it's the song most deserving of our respect as musicians ... it's as close as we came, as a band, to the archaic magical foundations of songwriting and poetry - which are of course, as Robert Graves well knew, rooted in the old magic of psychospiritual catharsis. This the Irish and Welsh bards loyal to Cerridwen understood well!

Go to:'She Must be Sleeping' 1993 version, by Goya's Child (1)-  live at the Golden Vine hotel. Copyright: words: Irvine/Thorpe,music: Mannix, O'Neill, Y.T.,Thorpe. Mechanical rights this version, 1993, as above, all rights reserved.

In the image above I stand infront of Lake Tegid/Lake Bala in North Wales (June 2010) - home of the Cerridwen/Taliesin story. Cerridwen, apart from being an alchemist/healer was the Welsh patron goddess of bards, ovates and perhaps druids. All ancient Welsh/Celtic British poets, singers and story tellers professed to have been in her service. 

 

 

 


More About Goya's Child? Go to: The History of Goya's Child (1)


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Books by
Ian Irvine (Hobson)



Dream-Dust Parasites

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The Angel of Luxury and Sadness, Volume One

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Facing The Demon of noontide

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