― Marcello Carlin, Sunday, 15 April 2001 00:00 (nineteen years ago) link
― Otis Wheeler, Sunday, 15 April 2001 00:00 (nineteen years ago) link
I know his reputation more than his music -- but based on his two songs
with Ultramarine, he's got a definite something.
― Ned Raggett, Sunday, 15 April 2001 00:00 (nineteen years ago) link
― Robin Carmody, Monday, 16 April 2001 00:00 (nineteen years ago) link
― Ned Raggett, Monday, 16 April 2001 00:00 (nineteen years ago) link
― Johnathan, Monday, 16 April 2001 00:00 (nineteen years ago) link
― Momus, Monday, 16 April 2001 00:00 (nineteen years ago) link
― the pinefox, Monday, 16 April 2001 00:00 (nineteen years ago) link
― Ally C, Monday, 16 April 2001 00:00 (nineteen years ago) link
― Otis Wheeler, Monday, 16 April 2001 00:00 (nineteen years ago) link
And the brilliant tracks include - yes - some political
ones. "Alliance" for instance is reductionist and I don't agree with
it (or more to the point I don't care about the actual political
situation being described) BUT as a portrait of political
disillusionment and betrayal it's superb and like a lot of great
political songs it's a disappointed love song too - "It's hard to
talk to enemies / And we are enemies / What we had in common / Makes
it even worse".
Also m'lud take into account: "At Last I Am
Free", "Shipbuilding", "Born Again Cretin", "Arauco", "Kingdom" and a
large chunk of "Shleep" too.
― Tom, Tuesday, 17 April 2001 00:00 (nineteen years ago) link
― Ned Raggett, Wednesday, 18 April 2001 00:00 (nineteen years ago) link
I would hardly rank him in the same league as Simon and Garfunkel; I
haven't heard anything on Soft Machine 3 or greater, but it can't be
as staggeringly annoying as "Cecilia". Uff da.
― Jacob Anderson, Wednesday, 18 April 2001 00:00 (nineteen years ago) link
― duane zarakov, Thursday, 19 April 2001 00:00 (nineteen years ago) link
― mark s, Friday, 20 April 2001 00:00 (nineteen years ago) link
― d.z., Friday, 20 April 2001 00:00 (nineteen years ago) link
see also "dondestan revisited"
― amateurist (amateurist), Saturday, 5 July 2003 06:42 (seventeen years ago) link
― amateurist (amateurist), Saturday, 5 July 2003 06:43 (seventeen years ago) link
shleep is a beautiful record and the first I discovered; both rock bottom and ruth hit my cd player regularly. I liked Old Rottenhat as well, which means I like pretty much everything I've heard by him, which I suppose means I'm a fan and therefore think: classic.
― anthony kyle monday (akmonday), Saturday, 5 July 2003 07:39 (seventeen years ago) link
'old rottenhat' close behind. prefer the original mix of 'dondestan' over the polished 'revisited' one by ten miles.
― jl, Saturday, 5 July 2003 07:50 (seventeen years ago) link
― amateurist (amateurist), Saturday, 5 July 2003 16:09 (seventeen years ago) link
― amateurist (amateurist), Saturday, 5 July 2003 16:21 (seventeen years ago) link
― JasonD (JasonD), Saturday, 5 July 2003 19:07 (seventeen years ago) link
The recent live Matching Mole discs on Cuneiform are pretty shit-hot too.
― Mr. Diamond (diamond), Saturday, 5 July 2003 20:35 (seventeen years ago) link
i like everything he's done, even "a short break" and "the end of an ear" (which i listen to with some difficulty). his voice is indeed the unifying factor and it is so inviting, his wordless vocalizing in particular. apparently he can *sing* entire coltrane solos from memory.
i can't quite get into some of the matching mole stuff but "o caroline" is one of the greatest things he's done. manages to be self-effacing and utterly serious at once.
― amateurist (amateurist), Sunday, 6 July 2003 03:06 (seventeen years ago) link
― amateurist (amateurist), Sunday, 6 July 2003 03:07 (seventeen years ago) link
What a fucking wonderful country, right?
What a disgusting legacy. FUCK the United States of America.
― Mr. Diamond (diamond), Sunday, 6 July 2003 03:14 (seventeen years ago) link
jara's songs are lovely b/c they take the road not (often) taken w/r/t political songs, where a story about people living their daily lives, things like love and sex and children and school and so on, connect to politics in these suggestive but nonetheless clear ways. as wonderful as wyatt's reading of "te recuerdo amanda" is, jara's is heartbreaking. i shouldn't even bother to attempt to apply any superlatives to it.
― amateurist (amateurist), Sunday, 6 July 2003 03:40 (seventeen years ago) link
I'm like, at a loss for words whenever discourse centers on the ridiculousness of this place.
Anyway, yes Amateurist you are your normal smart, sensible self. Still, frankly, I can't dismiss people who have politics opposite to my own. Gosh, I'd like to think we all do.
Darnit, this world is fucked, but for Christ's sake some of us pine for the alternatives...
― Mr. Diamond (diamond), Sunday, 6 July 2003 04:35 (seventeen years ago) link
― Mr. Diamond (diamond), Sunday, 6 July 2003 04:37 (seventeen years ago) link
this is a nice thread. there was a doc on robert wyatt abt a couple of months back on BBC4 and he came across as a wonderful person. I've heard some soft machine and i sort of struggle with it for some reason but I like his voice so i should check solo stuff.
― Julio Desouza (jdesouza), Sunday, 6 July 2003 08:06 (seventeen years ago) link
― gaz (gaz), Sunday, 6 July 2003 08:46 (seventeen years ago) link
and soft machine doesn't even compare to his solo stuff. it's slow, moody, post-prog political love songs. and his keyboard tones are so warm and thick.
― JasonD (JasonD), Sunday, 6 July 2003 08:50 (seventeen years ago) link
i keep passing up this one single of his. it's him and a bunch of south african musicians. anyone know anything about it?
― JasonD (JasonD), Sunday, 6 July 2003 08:53 (seventeen years ago) link
He was closely identified with the Popular Unity movement of Salvador Allende. After Pinochet's coup which toppled Allende, Jara was arrested, tortured, and later killed (along with 1000s of other Chileans).
His stuff probably shouldn't be too hard to find in any Hispanic music store (I'm not sure where you're at, but there's a million such places in Chicago), and on eBay you can sometimes find the remastered CDs from his catalog that came out in Chile last year.
Anyway we're talking about him because Wyatt recorded one of his most famous (and beautiful) songs, "Te Recuerdo Amanda" ("I remember Amanada").
― amateurist (amateurist), Sunday, 6 July 2003 16:22 (seventeen years ago) link
― Julio Desouza (jdesouza), Sunday, 6 July 2003 17:15 (seventeen years ago) link
Anyway, Jason - yeah I believe I paid something like $30 or $35 for EPs as well. Too much, but as I say I had to have it (maybe it isn't too much, i dunno; I don't know what it went for new, but it seemed like a lot to me). It's just a really beautiful package, a nice thing to have on the shelf, you know? Yeah that Animals soundtrack is unsettling, and I've never even seen the film.
― Mr. Diamond (diamond), Monday, 7 July 2003 03:30 (seventeen years ago) link
― amateurist (amateurist), Monday, 7 July 2003 03:32 (seventeen years ago) link
I think it would give me nightmares.
― Mr. Diamond (diamond), Monday, 7 July 2003 04:16 (seventeen years ago) link
Also he was on one of the best singles ever, Vivien Goldmans Launderette / private armies record
― Jens (brighter), Monday, 7 July 2003 07:02 (seventeen years ago) link
― amateurist (amateurist), Monday, 7 July 2003 13:00 (seventeen years ago) link
― j fail (cenotaph), Monday, 7 July 2003 18:25 (seventeen years ago) link
Since when was Robert Wyatt ever a "Stalinist"? What, because he sang "Stalin Wasn't Stallin'"? Do some research before accusing people of being Stalinists.
― Dadaismus (Dada), Wednesday, 9 July 2003 13:57 (seventeen years ago) link
― Ned Raggett (Ned), Wednesday, 9 July 2003 14:08 (seventeen years ago) link
Errrrrrrrrrrrrrrr, what exactly does that mean? Wyatt was a member of the British Communist Party, he was a Marxist, he was not a Stalinist.
― Dadaismus (Dada), Wednesday, 9 July 2003 14:12 (seventeen years ago) link
― amateurist (amateurist), Wednesday, 9 July 2003 14:17 (seventeen years ago) link
― mark s (mark s), Wednesday, 9 July 2003 14:30 (seventeen years ago) link
― N. (nickdastoor), Wednesday, 9 July 2003 14:40 (seventeen years ago) link
Who is this Otis Wheeler at the start of the thread with his wrong & badly expressed opinions? It's probably a good thing I wasn't on ILX in 2001 as I just know I would have been furious with various posters.
― Wuhan!! Got You All in Check (Camaraderie at Arms Length), Wednesday, 6 May 2020 22:28 (eight months ago) link
old ILM was wrong about nearly everything, I blame the UK Livejournal crew mostly
― sleeve, Wednesday, 6 May 2020 22:30 (eight months ago) link
Phew! Total panic there for a moment.
― stirmonster, Wednesday, 6 May 2020 22:38 (eight months ago) link
I knew that was gonna happen, so sorry!xxxpost, speaking of crackling, just now I thought a tree was starting to fall across the driveway---windy as hell out there today---but then it sounded like Wyatt doing something with sticks---also right up by my ears (I'm wearing 'phones): just some of the fun with stereo on "Spaced One," from a bunch of manipulated instrumentals used for a multi-media show:https://cuneiformrecords.bandcamp.com/album/spaced...recorded in early/mid 1969 by the "classic" Soft Machine trio line-up of Hugh Hopper [bass], Mike Ratledge [electric piano/organ] and Robert Wyatt [drums]..These recordings feature the band at their most radical, and while they would never again use the studio in such an extreme fashion, the work done here definitely influenced later works such as Third and Hugh's 1984.That opener is by far the longest, and other than little sticks and pokes, mostly organ drone with less bass bobbing. "Spaced Two" starts like a para-proto-Can-Velvets groove: just a little keyboard ripple with kickdrum and closed high-hat maybe, oh it's a loop, and here's another, 'bout to drip from the ceiling, but layers quickly accrue, with maybe realtime variants, or more illusions (Eno says the mind seeks out variety in sameness), then, almost 5 minutes in, several things go backwards, some of them creating an anxious, courteous,persistent pitch, an old butler, drumstick slicing way behind him---nice, one for the Beatles fans.(Spaced Three: carousel melting backwards in Sgt. Pepper Park, but don't hear Wyatt so fuck it--except points for being shortest track.)Spaced Six: Awright! Keys, bass, full drum kit wheeling around, greeted by glitch riffs---RW providing solos/bursts as accompaniment to/as negative space and vice versa (accompaniment to/as himself? Might as well). Chopping blocks and going Latin for a second, tapes abused and done. This is the RWrelevant keeper for relatively rational cherrypicking, but I might possibly buy the whole thing (DAMMIT)
― dow, Wednesday, 6 May 2020 23:10 (eight months ago) link
some soft machine ephemera using the spaced material: beyond image from the people responsible for their light show at that time
― no lime tangier, Thursday, 7 May 2020 04:54 (eight months ago) link
This was mentioned briefly on last year's rolling jazz thread and it's brilliant; best thing I heard in 2019: Hütte & Guests Play the Music of Robert Wyatt https://whyplayjazz.bandcamp.com/album/h-tte-guests-play-the-music-of-robert-wyatt
― fetter, Thursday, 7 May 2020 06:50 (eight months ago) link
Thanks! Totally missed that on RJ 2019.Soft Machine's Backwards starts with the quartet live in May 1970: 18 minutes, 39 seconds, none wasted, jumps right into 7:38 "Moon in June," jumps right into septet "Facelift," from Nov. '69: 8:36, which, with the following (non-freebie-sample)4:05 "Hibou Anemone and Bear," is, along with 20 minutes on the BBC, all the septet recordings, or so the notes here say. All of this is sharp, interlocking, flexible parts, with Wyatt rattling and chopping right through the middle, always responsively. Also 'preciate Hopper's fuzz bass and guitar appeal of Ratledge's keys at times.Ends with Wyatt's xpost '68 "Moon In June" demo + '69 splice.https://cuneiformrecords.bandcamp.com/album/backwards
― dow, Friday, 8 May 2020 18:15 (eight months ago) link
[Noisette is the third in our Soft Machine series, recorded January 4th, 1970 at the same concert as "Facelift" on Third, by the short-lived quintet formation of the group: Elton Dean & Lyn Dobson-reeds, Hugh Hopper-bass, Mike Ratledge-keyboards & Robert Wyatt-drums & vocals. Noisette features the rest of the concert, & showcases a band in transition from their earlier psychedelic/ progressive sound towards the jazz rock sound of Third & Fourth. It features the quintet performing versions of material from their 1st two albums as well as material not available on their studio albums. Mastered directly off of the 30 year old 15ips master tapes, this release boasts superb live sound for the time period.
Well there's some haze, or gauze, but the instruments quickly push through and find enough room for definition. Ratledge's intro is pretty and brief, then he and Wyatt pitch right in, bass is amiably full, reeds squawk and peck at the edges of other sounds, not too much, just keeping 'em on their toes--was thinking reeds were getting thinner than nec., then Hopper belches a bit of fuzz, returning the "look alive!" favor. Later a bit of flute, later still saxes scurry up the Ratledge lattice, suggesting a parody of guitar sounds sometimes--title track is 37 seconds, not one wasted, whole thing seeming like a suite, then finale--finally, one with Robert vocals! It has all these little sections, players bursting through the walls, just as the whole set has these little quick jumps at the end of each song. Sections are what some people haaate about prog, but these are entertaining enough to justify their existence, incl. coexistence.Only thing: Even though this still sounds sharp, fresh, it's most noteworthy for those qualities, rather than heights and depths of the jazzing--the rocking rocks on, w/o getting corny, smartly melding to the jazz--=and I do miss the voice sometimes on pre-finale workouts, despite the (never-abused) roominess for his drumming, and will once again be glad for him to move on to greener pastures, options-wise. But before that, will continue with these fun Soft Machine sample tracks. This page has 6 out of album's 10:https://cuneiformrecords.bandcamp.com/album/noisette
― dow, Monday, 11 May 2020 21:00 (eight months ago) link
Grides presents the most famous version of the band (Elton Dean, Hugh Hopper, Mike Ratledge, Robert Wyatt) recorded live at the Concertgebouw in Amsterdam on October 25, 1970, in a high-quality, previously unreleased recording, just a few months after the release of Third and at the peak of their popularity. It showcases them in transition between releases, with the band performing 3 of the four works from Third, as well as some of the earliest recordings of material from the upcomming Fourth, including some very different arrangements to what would eventually end up on that release. Especially in contrast to Noisette, the instruments jump right out, and stay comfortably close to my ears on headphones. finally, I can really hear what Hopper's doing all through the set"some steady twists and turns, like bass balloon sculpture---but he's not trying to be Jaco or Stanley--also, just the right, concentrated doses of fuzz, other distortion--ditto Ratledge, who plays mostly mid- and lower-range, full, warm, but yowly when excited; Wyatt's more spare than previous sets in this series, mainly punctuating, cueing, also stirring and chopping noodles when nec. (not that often). Dean's bundling of acrid shards provides effective contrast with meatitudes of others, but I don't miss him when he's not playing.Sometimes this seems more relaxed than prev. shows in the series, and "Esther's Nose Job" goes on a little too long, though good ending, and we get a reprise of my favorite tune here, if you can call it that, the slightly spooky "Slightly All The Time," this time with a burst of "Noisette."Bandcamp page lets us hear about half the tracks; I'll prob buy it and do some cherrypicking, as with most of these sets.https://cuneiformrecords.bandcamp.com/album/grides
― dow, Tuesday, 12 May 2020 17:16 (eight months ago) link
CD edition of Grides incl. DVD of 3.23.71 quartet set at Radio Bremen, which can also be had as a sep. (audio-only) digital album, for 5 bucks. Good idea: it's a 20:17 fistful of well-recorded balloon farm heat and cool networking, like the earlier Grides show, but fitting my attention span better. (Dean even melds with the others, without losing his skronk.) Most exciting passage: Wyatt's voice does something I've never heard before, like layers of duck or geese quavering in strict tempo---rows at a shooting gallery, with a distracting effect---?Whole thing's here, apparently:Set-list:- Neo-Caliban Grides
- Robert Wyatt's Vocal Improvisation
- Eamonn Andrews
- All Whitehttps://cuneiformrecords.bandcamp.com/album/live-at-radio-bremen-march-23-1971-from-grides-dvd
― dow, Tuesday, 12 May 2020 17:57 (eight months ago) link
(And can even hear Wyatt's kick-drum[?] and toms here, sometimes.)
― dow, Tuesday, 12 May 2020 17:59 (eight months ago) link
The previously unreleased show captured on Virtually, recorded March 23, 1971, presents the classic quartet Softs during their final European tour & just 4 months before their dissolution...versions of all the tracks from Fourth, most of Third and much more...special note must be made of Robert's drumming, as he plays with more gusto on this show than most from this period. Right at the beginning, as they jump into "Teeth," his interplay with the keys is right up front: dual lead lines, even though (except for the bass, which is always played and recorded splendidly here), the overall sound quality of this track isn't quite up to the rest---though it sure is on the next one, the title song, and most of the rest.But the sound is also too good to listen around Dean as much as I'd like; he and the prev. reliable Ratledge and too many tracks get tiresome, despite the rhythm section's best efforts, and abrupt cut-offs (obvious edits, not realtime-sounding jumps, like on some previous sets in this series).Of these six sample tracks, out of ten on the album, think I'll prob just get "Virtually"---should listen to the whole thing somewhere else maybe, but suspect I'm getting tired of this whole approach/that it was time for RW to move on. I'm ready for Cuneiform's live Matching Mole sets.https://cuneiformrecords.bandcamp.com/album/virtually
― dow, Wednesday, 13 May 2020 20:51 (eight months ago) link
there's an FB group for him and a few neighbors and friends of his post there regularly. someone walked by his house yesterday and waved to him, he was on the porch.
― akm, Thursday, 14 May 2020 03:34 (eight months ago) link
He’s still doing stuff albeit officially retired. He curated an hour of music for a new online Palestinian radio station a few days ago.
― Jeff W, Thursday, 14 May 2020 08:14 (eight months ago) link
He and Alfie also have a book coming out in September - lyrics and drawings I think
― Jeff W, Thursday, 14 May 2020 08:15 (eight months ago) link
Actually a Hopper song, but this thread is more active so I'll put it here. Weyes Blood did a nice cover of "A Certain Kind" a few years ago.
― nickn, Thursday, 14 May 2020 23:16 (eight months ago) link
Oh Well, it's searchable.
― nickn, Thursday, 14 May 2020 23:17 (eight months ago) link
Posting vids works better for me via Firefox, not the private window, just the basiic. Anyway, found it from your link, sounds good, thanks! Soft Machine Vol One version on same page. Thanks also to akim and Jeff W for updates, sure wish I could walk by his house and wave, oh well will check the book. I need to check more Hopper; I mainly know him from Wilde Flowers, Soft Machine, and the Material cover of "Memories." Where should I start with his other bands? Also, is there a book that covers the Canterbury crew from early to fairly recent years?
― dow, Friday, 15 May 2020 04:56 (eight months ago) link
When I was compiling early Canterbury stuff, this was the main source for the really early years, like pre-65.https://en.m.wikipedia.org/wiki/Canterburied_Sounds,_Vol._1%E2%80%934It's an odd grab-bag of stuff, some of it not very good at all, still worth a listen though.
― Wuhan!! Got You All in Check (Camaraderie at Arms Length), Friday, 15 May 2020 06:43 (eight months ago) link
The Hopper and Elton Dean albums are good. I also like the one he did with Caveman Shoestore, calling themselves Caveman Hughscore.
― nickn, Sunday, 17 May 2020 18:05 (seven months ago) link
man I tried again with that one recently after owning it for many years, and altho there are some real high points I just cannot hang with the main Caveman guy's stream-of-consciousness lyrics
― sleeve, Sunday, 17 May 2020 18:16 (seven months ago) link
Yeah, it's an acquired taste. I appreciate the music over the lyrics. As a progger from way back I've learned to tune out silly lyrics.
― nickn, Sunday, 17 May 2020 18:25 (seven months ago) link
Smoke Signals compiles all previously unreleased performances - selected & sequenced by Robert Wyatt biographer Mike King - from the band's most intense gigging period. The set list is mostly drawn from Little Red Record, but the way the band performed the pieces live is quite different from the heavily overdubbed versions found on the studio disc. Yeah, Matching Mole is Jack B. Nimble here--gotta be, or Wyatt might roll right over the others. No busywork in the v. compatible bandcamp sample tracks though: put of 10, we get "Smoke Rings" (double bass with a pickup, and sometimes a bow??), "Brandy as in Benjii" (after Benjii the dog movie star?), "March Ides II," (my fave), and "Smoke Signal," which has good thick fuzzy drones--guitar, bass, both?---and liquid electric piano floating in a glass---thee good jazz rock, or jazzy rock, before fusion got so complicated. Refreshing! Guess I did binge on Soft Machine. No vocals in this foursome, alas.https://cuneiformrecords.bandcamp.com/album/smoke-signals
― dow, Wednesday, 20 May 2020 01:34 (seven months ago) link
Wii have to try Canterburied Sounds, thanks!
― dow, Wednesday, 20 May 2020 01:39 (seven months ago) link
personally for me his peak period is the stuff he put out in the late '70s - "hopper tunity box", "monster band", and "two rainbows daily" with alan gowen. "two rainbows daily" in particular is just spectacular, a really underheard gem.
for later stuff i very much enjoy the "soft mountain" release, a record with hopper and elton dean that's very much in the spirit of the fourth soft machine record, with hoppy kamiyama and tatsuya yoshida on keys and drums.
i wasn't at all a fan of "1984", which i remember as just being these strange tape loops without much in the way of melody. i might like it more today if i gave it another listen.
― Kate (rushomancy), Wednesday, 20 May 2020 01:49 (seven months ago) link
I cannot imagine Tatsuya Yoshida playing anything like Soft Machine 4
― frogbs, Wednesday, 20 May 2020 01:51 (seven months ago) link
sorry, fifth - there's definitely more phil howard than robert wyatt in his playing!
― Kate (rushomancy), Wednesday, 20 May 2020 02:20 (seven months ago) link
I know it’s seen as this super minor entry in his catalogue but the little piano, voice and drum sketches of A Short Break are going down really well right now.
― Naive Teen Idol, Saturday, 22 August 2020 21:39 (four months ago) link
still get a scare when this thread is bumped
― syphilitic wolf prose errata (Hadrian VIII), Saturday, 22 August 2020 21:52 (four months ago) link
DO NOT POST IN THIS THREAD
― sleeve, Saturday, 22 August 2020 22:34 (four months ago) link
Early ILM, getting it all wrong to be contrarian, yet again...
― Soundslike, Sunday, 23 August 2020 02:57 (four months ago) link
from the Soft Machine's SPACED thread: no lime compensates us for above video removed:
bummer about the disappeared video, seems to have vanished completely. anyway, it's available as an extra on this* which is where i first came across it.
― no lime tangier, Saturday, August 22, 2020 10:29 PM*https://shop.bfi.org.uk/separation-dual-format-edition.html
― dow, Sunday, 23 August 2020 03:58 (four months ago) link
This is from a late '07 profile that I wrote for a collegetown alt-weekly, prob emergency filler when some Star suddenly cancelled an interview and/or show, so the editor wasn't too picky---first part was the usual sort of bio, but I still like this about the musical journey:
...Rock Bottom, Wyatt’s 1974 debut solo album, doesn’t directly address his accident, but its dazzling ballad, “Sea Song,” confidently greets “...a seasonal beast, like the starfish that drifts in with the tide. So until your blood runs to meet the next full moon, your madness fits in nicely with my own...we’re not alone.” Yet in “Last Straw,” he’s “buried deep in the sand.” By 1975’s Ruth Is Stranger Than Richard, he’s a little piece of pork, singing a “Soup Song”: “Now there’s no hope I’m getting out of here, I can feel I’m going soft!” But at least he can wish the soup-eater a tummy ache. On “Team Spirit,” he’s a happier pigskin, taunting the football player who’s kicking him, but also urges, “Use me to go to hell for leather and back,” because they give each other meaning.
Wyatt had recently married lyricist-graphic artist Alfreda Benge, and as he later acknowledged, “Life began to make sense.” She supported and challenged him. In the early 80s, he recorded Elis Costello and Clive Langer’s “Shipbuilding,” about a worker whose ancient trade and town’s prosperity are finally revived by the UK government’s (shady) Falklands War, to which the shipbuilder’s son is shipped off. (“But I’ll be home by Christmas.”) Wyatt also covered Peter Gabriel’s “Biko,” an elegiac, then galvanizing account of and response to South African activist Steve Biko’s death, while being held by the Apartheid regime‘s police---and Nile Rodgers’ “At Last I Am Free,” a ballad that accounts, note by note, for every step toward and through strength and freedom. “Biko” is in the Wyatt collection Mid-Eighties, which also contains his 1985 Old Rottenhat, where connections between the personal and political could get ranty, and there are some cranky moments in the middle of the new album, Comicopera. But it begins with a couple’s questions and answers for each other, settling and shifting.They make love, while beautiful music lures other characters into making war.The beauty tries to grow out of that, as Wyatt, at the height of his powers as a multi-instrumentalist and arranger, leads jazz and rock players, singers, and listeners through Spanish and Italian words and melodies, like sunshine spilled through bullet holes.
― dow, Friday, 4 September 2020 18:02 (four months ago) link
And here's an excerpt from another ancient altweeky piece of mine, more re Comicopera.
from "Speculation, Notes On Three Songs Of The Year (07)":
Robert Wyatt's "Cancion de Julieta": built on, travels on an uprightbass riff, which carefully adjusts itself, then tilts forward, like arocking horse that almost gets stuck on a surreal extension of a bent(fifth?) some blues note or I should say blu-u-ues note, groaning alittle, deliberately distended, before the last note, beforethe rocking horse pilgrim tilts back into place. And Wyatt sings thesame melisma, much higher, like a little old man with a hole in hishead and the air pushing out and in, which is true of course, like alittle old man in a poem or a play, under the radar or trying to bethat way, in his mask (from Comicopera, and Wyatt explains he meansthat album's title in the oldest school sense, the other side oftragedy, but useful, a working piece of uniform), his parody, with thewell-timed well-pulled tear in his blues, giving just enough pause tothe listener (and even a sympathetic listener can stop listening ifthe music seems too familiar, like this track never does; I keeplistening to hear what happens next, even though I "basically" orschematically know, but it's the feeling of the listening experiencethat matters here, like it always should). Also, it's not just a masketc in the defensive sense, or defensive in the wait for 'em to comeat you sense; the little old rocking horse rider isn't just findingaway to keep his place, he's somehow pushing forward, each repetitionof the basic riff brings some other sounds too, which suggest he'sbreaking into something, pushing forward, into wreckage, the hull of agalleon maybe (kind of an underwater moonlit quality). The bass playeris also using his bow, and overdubbing violins, scrabbling at thepush, in the push. (Wyatt also plays some kind of keyboard,percussion, pocket trumpet, all in the arc and pull and push of thesway of the note). "Un mar de sue-eh-eh, no. Un mar de tierra blanca,"so not just aquatic and doesn't just sound aquatic, but like he'sentering the water, rocking back and forth and farward. Just anothersleepwalker? They can do a lot. Leading where all listeners might beled toward making their own connections, if they want, to any possibledeeper waters. Either way, the song will keep going (not too earnest,no time for that). It's just the damndest track, is all, first listenevery listen.
― dow, Thursday, 17 September 2020 02:40 (three months ago) link
“Biko” is in the Wyatt collection Mid-Eighties, which also contains his 1985 Old Rottenhat, where connections between the personal and political could get ranty, and there are some cranky moments in the middle of the new album, Comicopera.
you say all this like it's a bad thing somehow, but IMO these are some of the strongest moments in his catalog, are extremely emotional and human, and light years away from being "ranty" which tbh sounds pretty blithe and privileged as an alleged dismissal.
― sleeve, Thursday, 17 September 2020 03:32 (three months ago) link
Regardless of the lyrics, I think Old Rottenhat is his strongest album musically, and it's aged phenomenally. Gharbzadegi is one of the few 8-minute songs that's far too short; I could ride that cyclical piano groove all day
― J. Sam, Thursday, 17 September 2020 03:50 (three months ago) link
maybe "ranty" is a poor way to say what I think I meant, almost 15 years ago, but seems to have been for contrast w the choices and performances of "Biko" and "At Last I Am Free"---and "Shipbuilding," for that matter, though, though the first two are peaks of eloquence. But I can still change my archived post of it, so maybe I'll just cut out that whole sentence, mainly in there as transition (not strictly nec., more for the school paper approach). It's just my perspective at the time, meant as an intro,not presented there or here as all-time in-depth consideration, but some of the more compelling tracks, personally and then also politically, developmentally.
― dow, Thursday, 17 September 2020 16:31 (three months ago) link
Okay, did that. I'll get back to Old Rottenhat and some others later on.
― dow, Thursday, 17 September 2020 18:17 (three months ago) link
I just got the full 4 volume Dada INsanity which Ithink is all Robert Wyatt era Soft Machine. Oly had disc 3 before i think which is US tour from 68.
Have a few of his solo lps around in my bedroom several of which I got cheap IN FOPP a few years ago. I know I love Rock Bottom and the Drury Lane set from around the time, got both of those from elsewhere. Really like Ruth is Stranger tahn Richard and need to familiarise myself with others better.
― Stevolende, Thursday, 17 September 2020 18:45 (three months ago) link
Dada Insanity looks great
Old Rottenhat is top shelf. I love it as much as Rock Bottom. There's an interview where he said he heard one of his old tunes getting played on Voice of America and he thought 'hmm, the only way to get them to stop doing that would be to start writing lyrics they can't ignore'
favorite Old Rottenhat era tape is Radio Experiment Rome Feburary 1981. Had the bootleg a long time before the CD. In-studio improvs modest but perfect. The track 'Holy War' is an early version of 'Speechless' played backwards.
― Milton Parker, Thursday, 17 September 2020 20:06 (three months ago) link
The recordings with Henry Cow in 1975 are pretty good too. I think there was a 3cd set of them one set each from London, Italy and somewhere.Were out at one point as Freedom.
― Stevolende, Thursday, 17 September 2020 23:25 (three months ago) link
If you want songs that touch your mind as well as your heart, these are the best,” says Brian Eno regarding Robert Wyatt and Alfie Benge’s recently released Side By Side, a collection of lyrics, poems, writings, and drawings from the Wyatt and painter, songwriter, Alfie Benge, longtime collaborators and partners.
Along with the release of the book, the ever-reliable Domino has begun a reissue campaign of his solo work, beginning with His Greatest Misses, a non-chronological survey of his decades-spanning oeuvre. Originally released in Japan and available now for the first time on vinyl, it’s a non-chronological look at the sonic inventor’s work between 1974—2003.
And as if all that isn’t enough, Wyatt season continues with brand new music: the forthcoming Artlessly Falling by MacArthur Genius Mary Halvorson’s Code Girl. On the new album, he joins the guitarist and composer for three angular but wide-open songs. Like his collaborations Eno, Carla Bley, Björk, Paul Weller, members of Pink Floyd, and many others on the vanguard of rock and the avant-garde, his contributions on Artlessly Falling feel singular, his voice conveying emotionality, beauty, and bewildered wonder.
That’s all on display in The Free Will and Testament of Robert Wyatt, a playlist featuring Wyatt favorites and deep cuts selected by Aquarium Drunkard founder Justin Gage. From his majestic cover of Elvis Costello’s “Shipbuilding” to pioneering work with the prog/jazz fusion combo Soft Machine to late period classics like the Benge/Wyatt-penned “Just As You Are” from 2007’s Comicopera, these songs align mind and heart. As Eno says, “English music has produced some fascinating personalities but few are as unusual as Robert Wyatt.” Unusual, yes. Wonderfully so.https://aquariumdrunkard.com/2020/10/22/robert-wyatt-playlist/ (links to Spotify)
― dow, Saturday, 24 October 2020 02:07 (two months ago) link
Replying to @aquadrunkardSome Robert Wyatt Rarities / Radio Shuttleworth, BBC May 23, 2000 (the entire show + 2 songs edited out as separate tracks)
https://we.tl/t-oRaXvVZQLk (WeTransfer, downloaded quickly, haven't had time to listen yet)
― dow, Saturday, 24 October 2020 02:09 (two months ago) link
Sorry, thanks to this guy! Observations of Deviance AntiFascist@AtBestIsKornyObservations of Deviance / a readiness to find strange and singular what surrounds us; a certain relentlessness to break up our familiarities. KXCI radio DJTucson, AZkxci.org/programs/obser…Joined November 20113,025 Following3,542 FollowersFollowed by Milford Graves Full Mantis, Sunwatchers, and 46 others you follow Although looks like I muted him for some reason, only saw the above via ilxor tylerw's tweet
― dow, Saturday, 24 October 2020 02:13 (two months ago) link
― howls of non-specificity (sleeve), Saturday, 24 October 2020 03:33 (two months ago) link
“I am a real minimalist, because I don’t do much. I know some minimalists who call themselves minimalist but they do loads of minimalism. That is cheating.” -- Robert Wyatt.3:25 PM · Nov 28, 2020
― dow, Sunday, 29 November 2020 00:52 (one month ago) link
He's good on that Code Girl album--sounds old, but vivid, to lingering impression after tracks are over--- and alb is all good, by far the best Halvorson set I've heard so far, maybe because she's an accompanist here, to singers and instrumental "chamber" (but non-antiseptic) jazz combo & soloists. Seems like this might pertain:Long before the modern British jazz explosion brought us Sons of Kemet, Nubya Garcia, and the like, their forebears filtered rock, funk, electronics, international influences, and the avant-garde through an open-ended but idiosyncratically English mindset. The roots of U.K. progressive jazz reach all the way back to ‘50s modernists like Joe Harriott and Tubby Hayes. A decade later, the countercultural boom brought mavericks like Elton Dean, Keith Tippett, and Alan Wakeman, who enlarged their audiences by working with simpatico proggy legends such as King Crimson and Soft Machine, along the way.https://daily.bandcamp.com/lists/british-jazz-list
― dow, Tuesday, 5 January 2021 19:45 (one week ago) link
i was a little cooler on the album overall, maybe it needs a few more spins to grow on me, but agree that Wyatt is fantastic on it
― nobody like my rap (One Eye Open), Tuesday, 5 January 2021 19:50 (one week ago) link
It's a great setting for him and he sounds perfect on it even if I am not as high on as I was the first Code Girl record, but agreed I need some more time with it
― chr1sb3singer, Tuesday, 5 January 2021 20:47 (one week ago) link
I dunno what it is about "Worship" but that song can never receive enough praise. It is my calm zen.
― THE DON IS GONE (FlopsyDuck), Tuesday, 12 January 2021 15:14 (four days ago) link