Archive for “Love From London”

Robyn Hitchcock Offers Clues To His Ultimate Playlist (9:30 Club, April 27th)

Posted in Music with tags , , , , , on April 28, 2013 by johnbuckley100

Over a span of many years — many, many years — we’ve made playlists from Robyn Hitchcock’s albums, vinyl to cassette tape, CDs to Mini Discs, digital files to iPods and iPads.  It’s hard to do a really comprehensive and good list because, Hell’s bells, he’s been at it so long, writing songs at such a consistently high level, that a really good, career-spanning playlist — starting with the Soft Boys in 1980, up to and including the excellent Love From London, which came out earlier this year — you either fill your hard drive with an impossibly long sequence of  his 500 songs, or you skip over whole decades (the ’90s weren’t particularly memorable), or you start taking a single song from an album in the ’80s, say Element of Light, and the next thing you know, you’ve included the whole thing, the whole album, defeating your curatorial purpose.

Last night Robyn Hitchcock played D.C.’s 9:30 Club with a band so good that Peter Buck played rhythm guitar — yeah, think of that, the multimillionaire legend from R.E.M. goes out on the road as Hitchcock’s sideman — and his set list was just that sort of perfect playlist that has eluded us.  When he strapped on the electric guitar, his long fingers languorously alighting lead notes even as he sang, of course he started with “Kingdom Of Love,” a song first heard when he and Kimberly Rew were giving Tom Verlaine and Richard Lloyd a run for their money as the best tandem guitar duo in that confused era between punk and post-punk.  He closed his set with “Goodnight Oslo,” (sung with some missed high notes, the quality of his voice necessitating the emollient of tea), and we’d be forgiven if we said, Wow, what a span of amazing songs, except “Goodnight Oslo,” which he loves so much he’s recorded it twice — once in English, once in Norwegian — was released first in 2009, and he’s put out three excellent albums since then!   Yeah, more than three decades on, Hitchcock’s fountain still bubbles with Byrdsy jangle and folk-rock craftsmanship.

To say he is still going strong understates.  To put the timeline in perspective against the quality of music produced, what Hitchcock is doing now would be the equivalent of, say, the Rolling Stones still releasing excellent new music in the late ’90s, right? 33 years on from that first one.  The only artist in rock’n’roll music we know who has had/is having such a late phase claim to greatness is Dylan, and unlike Dylan, Hitchcock still has his voice.  Even if last night some of those high notes were just out of reach.

We love Love From London, though when it first came out, we thought maybe Goodnight Oslo or 2006’s Ole! Tarantula were a bit better.  We’ve since reconsidered.  Last night, playing the wonderful “I Love You” and “Fix You,” Hitchcock reminded us just how great that album is.  He limited himself to two songs from the new album because, clearly, even he has trouble choosing the great songs to offer, and it’s a zero-sum game, if he’d taken too many songs from Love From London, he wouldn’t have been able to give us “Element of Light,” or maybe “Underground Sun.”  (On the latter, the band did something so charming… having forgotten the bridge, after they ended the song, they remembered what they’d left off, started up again, and played the bridge!)  He wouldn’t have given us “Madonna of the Wasps” or “Adventure Rocket Ship” or “N.Y. Doll.”

He came back with an encore consisting of, get this, “I’m Waiting For the Man,” followed by Dylan’s “Too Much of Nothing,” followed by “She Said She Said” and “Eight Miles High.” Well, did we mention that Peter Buck was in his band.  Brilliant.  A complete gem of an encore package, missing only, like, “Parachute Woman” to have hit ’60s evocation nirvana.

And now, having heard the set last night, maybe we have our dream playlist, at once a concise distillation of Hitchcock’s greatness, and a reminder that it’s really just a taste of this most satisfying career.

For Robyn Hitchcock, London’s Calling With Love

Posted in Uncategorized with tags , , , on March 6, 2013 by johnbuckley100

We assume that by the time a Swiss watchmaker is 60, he can do pretty much anything — make complicated watches with intricate gears, or whimsical bling, if that’s what he wants — but it all will tell perfect time.  So it is with Robyn Hitchcock, who started rock’n’roll life in the punk era, but was always too clever to be reduced to three-chord rock.  (To begin with, he’s always been too fine a guitarist, a man who could have worked sessions if he hadn’t the talent to have written 500 songs over the course of a long, glorious career.)  As a master of everything from jangling, Byrdsy folk-rock to the most intricate chamber pop, to hard-rocking three-minute entomological rom-coms, Hitchcock has always carried himself as a British eccentric, the Paul Smith of tasteful Indie rock.  But on Love From London, his 19th record — including his work with The Soft Boys?  dunno…– Hitchcock slips the non-formulaic formula that’s governed his incredible output since 2005, which includes four certifiably great albums, and shows he can still be frisky.  If we are to pay off the multiple analogies spraying everywhere in this lede paragraph, shall we consider him the Swiss watchmaker who mixes up colors like Paul Smith? Yes, let’s.

We thought 2006’s Ole! Tarantula was a great album, one of his best, but it just got better from there, as Goodnight Oslo, Propeller Time, and Tromso, Kaptein were marvels of mature folk-rock confections that still each had a kick, like Swiss chocolate with a jalapeno tang.  That he is held in such respect by his peers that guitarists like Peter Buck travel oceans just to back him up, for little pay but much satisfaction, shows the kind of artist we are talking about. On Love From London, Hitchcock’s added piano and organ to his basic band, which consists of standard guitar-bass-drums, but also cellos and the occasional horns.  On a song like “Stupefied,” it’s easy to imagine a surviving John Lennon invoking his Beatles past.  But like David Bowie, whose new album sends us back into the world he created, Hitchcock is enough of a master, with a long-enough track record, that all the references are to his massive body of great work.  For Hitchcock aficionados, the long string of Saturday morning rainy day albums that put a knowing smile on our faces continues.  May it do so for decades to come.

In a wonderful interview in Time, Hitchcock talks about how music no longer matters, at least not like it used to.  In the days when one sought out obscurities in records shops, the commodity value of music was so much greater than it is in an instantly downloadable world.  Robyn Hitchcock is the kind of artist we would have hitchhiked to the big city just to find the record bins containing his work.  Take advantage of our modern world and download Love From London today.

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