It’s almost impossible to compare Robyn
Hitchcock to any modern artist. The most fitting comparisons are all in the
past: Syd Barrett, John Lennon and Bob Dylan are the most obvious, and it is
hard to imagine any artist who wouldn’t be thrilled by the comparisons. In most
cases such comparisons would be laughably ambitious, however in the case of
Robyn Hitchcock, he lives up to them. Yet, having begun his recording career in
1979 (with A Can Of Bees by his early group The Soft Boys), he
clearly is part of the modern world. I remember I first found out about him
when he appeared on the cover of some long-forgotten magazine which featured
articles about other bands I was interested in (Jesus and Mary Chain and Sonic
Youth if I’m not mistaken). The article about him spurred my interest and I
started down the road. Almost 40 years later, Hitchcock remains entirely
relevant, fresh and one of my favorite artists.
Fegmania, released in 1985, was Hitchcock’s fourth album under his own name
and his first with The Egyptians as
his backing band. Essentially a rearranged version of The Soft Boys, these players provided his most
sympathetic backing and found their way to making one of the finest albums of
the 80’s. Fegmania is the perfect place to start with
this artist. He has a large, unwieldy catalog spread out over a number of
labels. Opening with “Egyptian Cream” we are presented with a perfect slice of
retro pop-psych; a hook that gets in your head, lyrics that are at once mysterious,
heartbreaking and hilarious. In case you didn’t know, Robyn Hitchcock is the
most erudite and surreal lyricist of his generation. Gifted with the Anglophile
whimsy of his heroes Lennon and Barrett, he is also in possession of one of the
most astounding improvisational poetic minds imaginable. In the live setting he
regularly launches into long, extemporaneous orations that fall somewhere
between Lewis Carroll, Shakespeare and Thomas Pynchon. It is not a typical mind
we are dealing with here. If you like your songs to not provoke thought, look
elsewhere; this is an artist of substance. Song three, “I’m Only You,”
beautifully illustrates this as he reels off one beautiful line after another
in an angelic voice with a Byrdsian wall of acoustic and electric guitars and
rumbling drums propelling it forward into a chaotic ending worthy of The Doors.
Elsewhere on “My Wife And My Dead Wife” and “The Man With The Lightbulb Head”
he channels the style of John Lennon’s writing in his books A Spaniard In The Works and In His Own Write. It is simultaneously,
hip, knowing, childlike and sweet. These are often conflicting impulses, yet
Hitchcock has always walked that fine line with artistry and aplomb.
Musically, The Egyptians are a totally modern
band with current production values. While they utilize and master countless
Beatley tricks of harmony as well as complex rhythms and tempo shifts within
songs, their music never feels nostalgic. “Goodnight I Say,” “Strawberry Mind”
and “Heaven” are songs which seem unglued in time. They feel appropriate next
to modern FM hits, yet there is an undeniable “classic” feel to them.
So many albums from the 1980s have lost much of
their sparkle because of the horrendous production values employed and the
MTV-ready insipidness of the songs’ subject matter. Fegmania on the other
hand is a serious and colorful work of art - free of any era-based foolishness
and filled with memorable music and poetic imagery.
-
Paul
Epstein
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