Robert Wyatt: Classic or Dud?

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.

Errrrrrrrrrrrrrrr, what exactly does that mean? Wyatt was a member of the British Communist Party, he was a Marxist, he was not a Stalinist.

"Robert Wyatt! I got on well with Robert. The greatest problem between us was a political one. I had been in the Young Communist League -- when I was a schoolboy, I'd established a branch or two. And I was the one that didn't get beaten up on the way to our first meeting. I'd worked with the Communist Party of Great Britain's headquarters. I kind of knew what the party was like. One of the things that appealed to me about Marxism was its anti-utopian foundation -- it was infinitely preferable to wishing that the world was a nicer place, or that Robin Hood was elected sheriff. But through reading a lot of theory and working for the party, I thought, 'This ain't for me,' whereas Robert was getting more into it. I really liked him, but that was the principal reason for drifting apart: he was getting more Stalinist and I wasn't."

Anyway, why is it only Robert Wyatt who is hauled over the coals for having been a Marxist when other musicians like the various members of Henry Cow or AMM aren't? (I say having been a Marxist, but as far as I know, at least two-thirds of AMM still are Marxists.) I haven't heard anyone bring up Fred Frith's politics lately - least of all Fred himself. And let's face it, there's far worse things you could be than a Marxist: a Tory or a Republican or "New Labour" for instance.

do some research before you accuse people of being new labour

i have a deep respect coupled with a bit of bemused exasperation re. robert wyatt. he reminds me of a lot of people i knew growing up.

the album is very melancholic--it's the urgent combination of melancholy and whimsy (blended such that you often can't tell them apart) that is a big part of what makes this record so special to me. the wordless vocalizing at the end of the first track (??) is one of the most powerfully ... desolate stretches of music i know. such things are in the ear of the listener, of course. but considering the circumstances under which it was made it's not hard to imagine depression being one of many states that is being evoked in rock bottom.

i have a long and intense history w/this record (incl. listening to it in venice where wyatt composed much of the music)...

x-posts

*digs out dog-eared copy of End Of An Ear for comparison purposes*

Hmmm, I see your point. If it's Wyatt it's bloody good playing for someone who says he isn't that good at playing the guitar.

(either that or it's his funny Italian organ, or Hugh Hopper's bass speeded up?)

Interesting record, though, End Of An Ear; it's like an extended avant-scat variation on Gil Evans' "Las Vegas Tango."

-- Donnie Smith The Quiz Kid (what_d...) (webmail), September 17th, 2004 5:02 AM. (later) (link)

i can see our "interpretations" being complementary, more or less. but i'm reluctant to describe this album as being "about" any one thing, especially something as cliché as "learning to laugh again." i don't think the album has a narrative per se, or an obvious forward progression. or at least i've never chosen to hear it that way.

I agree that's not Oldfield on that track, but it's definitely Oldfield on the final track 'Little Red Robin Hood Hit the Road', the huge soaring melodic line that turns into the 'can't you see them?' riff. One of my favorite moments of recorded sound in the history of our world etc.

Oldfield is credited as a musician on the back cover of the original vinyl, but I suspect Oldfield's saying he wrote that entire solo, the melody and riff, and deserved a co-authoring credit for the entire track (I would be obliged if you could find his exact complaint)... the riff is nearly identical to one of the sections of 'Ommadawn'. I still see it as more of a break in the middle of Wyatt's song, but it is certainly Oldfield's solo that pushes it over the top.

YES

The other thing that I am aware of personally is June of 1968. Which seems to have been a significant event, and I don't know how that affected the music TV shows, but God, it must have, right?

You mean May? Yes, the French are good at archiving stuff (cf. the BBC).

Yes, Paris in May, Moon in June

l

I don't think Cuckooland is one of his most loved albums, but I love it. Forest is a powerful Romani holocaust song and has really beautiful lyrics by Alfreda. It makes me well up every time.

Thanks, I relate to all of that, although your experience goes deeper--wish I'd been listening to him at 21!
― dow

It doesn't seem like this has been posted before, but I loved it. One hour doc from 1998, Italian made.

https://www.youtube.com/watch?v=2Z5zy6MaFtI

missed this. heartbreaking

Friend of mine managed to end up backstage at a Patti Smith concert (in the Southbank probably?) Verlaine might have been there and Gillespie almost certainly was and various other luminaries. He said everyone there were complete arseholes and then he noticed a guy sitting (he thought) in a corner, pint of beer in one hand and a cigarette in the other, covered in ash. He went over to talk to him and it was Robert Wyatt and he was like, "What do you make of all this?" and he was basically the only genuine person in the room.

^exactly as you would expect

Robert Wyatt is the best <3
Wish him all the love

this sux :(