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- A collection of demos by Alan.s.Robinson Free mp3's.


- A home produced CD by Alan.s.Robionson

published by Night garden music

published by Perren-Vibes music

published by Empire music + Polygram

The home produced CD "A rush of blood" was originaly made available in March 2002.

A copy of the CD may be purchased for?3 including P+P by using Paypal. Please click the buy now button below.

Alternatively the C.D may be purchased by sending a cheque or postal order for?3

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Made payable to Alan.s.Robinson


White feather were Cookie on vocals, bass and this and that, Alan.s.Robinson on guitar and that and this, plus occasional others. These demos were made between 1983 and 1989. They are not in chronilogical order. All songs Cookie/Robinson unless otherwise stated.

Along with DHSS this is one of the songs I still occasionally play live when I wish to convince some one I know which way up to hold the guitar. I wrote a dozen plus verses, Cookie cut it down to two with harmonica solos. If I play it live I sing an extra one or two verses.

Vocals and harmonica Cookie, nylon guitar Alan Robinson, steel guitar Anton Grzesiczek. Lyric inspired (if inspired should transpire to be to great an auumtion lets us us say instead 'provoked by') by the folk song 'The cruel mother', in particular the notion of welcoming all manners of torment if one can be but saved that most awful of punishments.

With Steve Birch on backing vocals.

What does it mean when your songs spound better backwards than they do forward?

This was the ninth (and last) song in a particular collection recorded simply, with the intention of then selecting which ones we might want to work on.

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Any resemblance between our songs and somethinf jolly is purely accidental.

Cookie, keen to demonstrate his burgeoning knowledge of the french language took to naming the songs in french. Other compositions from around this time include "Le grande fromage e la donna" and "Le chat est dans les Chateaux". The lyric for 'Il fais frois' was inspired by (though is not a comentary on) the Jack Nicholson movie 'Chinatown' along with the biblical story of Lot. It has always been my intention to staunchly refuse to explain my lyrics. But then nobody ever asked about them. How can one stubonly decline to enter into a discusion if no one even bloody asks.

The Lewis Carrol lyric form Alice In Wonderland as sung by the mock turtle, set to music by a mock Cooke/Robinson. We also did a setting of the Lewis Carrol poem 'Jabberwocky.

The Lewis Carrol poem set to music by Cooke/Robinson. We also did a setting of 'The lobster Quadrille' from Alice in Wonderland.

With John Harrison on electric guitar.

From a collection of songs Cookie and I wrote provoked by the Jack Nicholson film 'One flew over the Cuckos nest'. Though we wrote quite a few songs we only made demos of two.

atmospheric electric guitar by David Blackley.

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Cookie does the Flying Pickets. The lyric is a mixture of "found" material (stolen if you prefer) and "original" (as long as we don't want too tough a qualifying criteria) material. The "found" stuff was from a poem by Robert Louis Stevenson who was taking a break from inventing the steam engine, it was selected at randon from an anthology that was lying about (What was it lying about you may ask yourself - well mostly it was lying about the truth). We may of only taken the one line and a word or two, or we may possibly have found a phrase in another poem in the book. The time is lengthening and my memory shortening.

"Hey Cookie, why don't you keep singing O at the end of everything, it'll make it sound folky."

The 'A' side of our self released 1983 single, in an unlimited edition of 500, most of which are still in my cupboard.

The 'B' side of our single. At the time we were likened by a writer in a local free magazine to Syd Barrett and early Echo and the Bunnymen, while a local DJ mqade the following personal note regarding one of our other demos - "Pyscodelia is supposed to be on the way back maybe there on to something." But we didn't sound like Syd Barrett and we weren't onto something. More recently in the early years of the second decade of the twentyfirst century we have been compared to early shoe gazing music - shoo gazing music for people with shit on their shoes the shitty shoed bastards. Where's Paul Calf when you need him,

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