The Fond Farewells

We're sending some demos out.

Ad did some research and found a few labels for us to try and convince them to release Don't get up. He asked me to put together a cover letter - here it is:

The Fond Farewells
Don’t get up

Hello, we’re The Fond Farewells. In your hands, you hold a sampler of our 14-track album, Don’t get up. It arrives in your mailbox fully-formed and ready for release. It was recorded in a basement, a living room and a dining room. The songs were written in an earlier life by a fucked-up and lonely twentysomething who is now not nearly as lonely and fucked-up (and certainly not as twentysomething).

Concerning who The Fond Farewells sound like, it seems that everyone hears something different. We’ve heard reactions from R.E.M. to Wilco to “British folk music”. If you ask Rob, he’ll tell you that it was meant to be sort of They Might Be Giants by way of Depeche Mode. But that’s just him.

Suffice to say that Don’t get up is very ‘80s and yet somehow timeless. It’s the sound of corporate America gone off its meds. It’s the realization that everyday life is bullshit, but what other choice do you have but to live it?

If you (and by extension, your audience) like songs about clairvoyant 19th-century industrialists, the dissolution of the modern family and crushes on opera singers and environmentalists, then Don’t get up may just be the CD you need to add to your catalog.

We would like to see if you would consider releasing Don’t get up. (We heard that you were a nice label.) Please let us know what you think – we’ve got David Geffen holding on line two, and you know how he hates to be kept waiting…

Thank you profusely for your time and attention,
Rob and Adam

The Fond Farewells are Rob (vocals, a little keyboard, lyrics and most melodies) and Adam (pretty much everything else).

Part 3 of The Fond Farewells Story: Asshole in front - Welcome Mat plays live.

As you may recall, Welcome Mat began rehearsing in the fall of 1987. Most everyone was new to their instrument. We started working on some of my songs through the fall and winter. I think Adam may have recorded some of our practices. I remember listening to one of the tapes - it sounded like quite a racket. Not very tight, but a lot of energy (a sentiment that we be echoed through one of the few reviews we received). Eventually, it came time for us to play live. To get gigs, we had to make a demo tape. We chose two songs, "Freedom of speech" and "Breeding ground zero." I don't remember where we recorded these songs, but they came out OK. (Maybe Ad could help me out here.) We sent the tapes out to clubs and local radio stations.

The first gig we ever played was on March 10, 1988 at The Ranch House in Mansfield, MA with Miranda Warning and Balboa Dance. The Ranch House was a big barn, as I recall. A few people we knew showed up. Even my parents were there. I believe we were the opening band. We kicked into "Breeding ground zero" and off we went. I had a lot of nervous energy as this was my first time performing with a band. I imagine I came off as manic. From listening to the live tapes we did, I also know that I didn't sing, really; it was more of a bellow. In the end, it was probably not very musical, but we got through it somehow. We followed up that gig with a live performance at WBRS on the Brandeis University campus in Waltham. Our early sets likely consisted of the two songs mentioned earlier, plus "How things work", "Friends Enemies People", "Dreams And Visions", "Fat mistress", "The Nice Channel", "Logical mind" and "Fatal Position".

Breeding, How, Nice and Friends will all be on our first CD, Don't get up.

About the songs - I'm not really sure where they come from, but I know for sure they're not the usual fare. A lot of them come from me being a misfit and generally not fitting in anywhere. At the time, I was working in my first professional job as a software engineer at GTE in Needham, so the workaday world tended to figure heavily in my songs. I guess that some of the songs are about not fitting in, realizing that you don't, and that it's all bullshit anyway, but you play the game because it's the only one in town. (See "How things work" and "Friends enemies people".)

"Freedom of speech" is a pretty obvious song about the loss of constitutional rights in this country. There will always be people who are trying to take away your fun. I wrote the song in 1986 - things haven't changed much.

"The Nice Channel" imagined a world where those who were fed up with modern entertainment would provide a pleasant Christian alternative. Little did I know. Quite a prescient song.

"Fat mistress" is about a cat named Sheba that belonged to the roommate of my first real girlfriend. Always hated that fucking cat.

"Logical mind" is about Adam. I lived with him for a year and a half. It didn't always go so well, but I still love the guy.

Now, right about this time, I was in the process of breaking up with the previously mentioned girlfriend. At the time, I was quite happy it was over, but I soon sank into depression, which was both a blessing and a curse. For the next year and a half, I was miserable, but it was by far the most productive songwriting period of my life.

Next time - Part 4, the blue period.