So rich is Hitchcock's back catalogue, however, that there are some overlooked gems in there. And none of them are greater than this song. In 1984 Hitchcock released a 12-inch single on which the lead song was an okay copy of the Byrds' version of 'Bells of Rhymney' (lyrics by Idris Davies). And hiding behind it was this swooning piece of autumnal melancholia, 'Falling Leaves'. Honestly, it's gorgeous.
Showing posts with label Robyn Hitchcock. Show all posts
Showing posts with label Robyn Hitchcock. Show all posts
Sunday, 30 August 2015
Powerpop - Robyn Hitchcock
Well, you don't need me to tell you that Robyn Hitchcock is one of the finest songwriters Britain ever produced, or that his group the Soft Boys (featuring Kimberley Rew on guitar) were the best band of the post-punk era. These things are obvious - simple statements of fact.
So rich is Hitchcock's back catalogue, however, that there are some overlooked gems in there. And none of them are greater than this song. In 1984 Hitchcock released a 12-inch single on which the lead song was an okay copy of the Byrds' version of 'Bells of Rhymney' (lyrics by Idris Davies). And hiding behind it was this swooning piece of autumnal melancholia, 'Falling Leaves'. Honestly, it's gorgeous.
So rich is Hitchcock's back catalogue, however, that there are some overlooked gems in there. And none of them are greater than this song. In 1984 Hitchcock released a 12-inch single on which the lead song was an okay copy of the Byrds' version of 'Bells of Rhymney' (lyrics by Idris Davies). And hiding behind it was this swooning piece of autumnal melancholia, 'Falling Leaves'. Honestly, it's gorgeous.
Friday, 24 July 2015
Powerpop - Knox
The missing link between the Vibrators and Pink Floyd. Sort of. This is the debut solo single by Knox, former frontman of the not very fashionable punk band, covering the Syd Barrett song 'Gigolo Aunt'.
Released in 1980, it was recorded at the Alaska studio and produced by Pat Collier - just like the Soft Boys' Underwater Moonlight album. To make it even more of a companion piece to that masterpiece, it features Matthew Seligman of the Soft Boys on bass, while Robyn Hitchcock plays guitar on the b-side, another fine cover, this time of Jimmy C. Newman's cajun-rock classic 'Alligator Man'.
This is one of a series of posts celebrating the poppier end of the post-punk period in Britain. Much of this stuff was neither cool nor popular at the time, but it was what I was listening to, and I worry that too much of it is being lost to history.
Released in 1980, it was recorded at the Alaska studio and produced by Pat Collier - just like the Soft Boys' Underwater Moonlight album. To make it even more of a companion piece to that masterpiece, it features Matthew Seligman of the Soft Boys on bass, while Robyn Hitchcock plays guitar on the b-side, another fine cover, this time of Jimmy C. Newman's cajun-rock classic 'Alligator Man'.
This is one of a series of posts celebrating the poppier end of the post-punk period in Britain. Much of this stuff was neither cool nor popular at the time, but it was what I was listening to, and I worry that too much of it is being lost to history.
Saturday, 11 July 2015
Books and Bookish
I've been absent from this blog for over a week, largely because I've been busy writing. Which is going very happily, thank you.
In addition, I seem to be getting a bit of book reviewing at present. My review of Charlotte Higgins's rather fine book on the BBC is here.
I also had a trip to Blackpool, as mentioned earlier, which was very enjoyable and introduced me to a musician of whom I had never previously heard. Leo Chadburn soundtracked the movie at the centre of the exhibition in the Grundy Art Gallery, and he closed proceedings with a performance of a piece inspired by the correspondence between Margaret Thatcher and Ronald Reagan. It was fabulous, almost touching the genius of Scott Walker at times - and by that, I obviously don't mean the melodic Scott Walker, but the creator of Tilt and The Drift.
Leo Chadburn also performs under the name Simon Bookish and I'm gradually exploring his work. This album, Everything/Everything, in particular, is stunning, like the Decca-era David Bowie covering Slapp Happy's Casablanca Moon, accompanied by the Fires of London. (There's one for the teenagers.)
This is Mr Chadburn/Bookish, wearing a shirt that Robyn Hitchcock would have been proud of in 1985:
In addition, I seem to be getting a bit of book reviewing at present. My review of Charlotte Higgins's rather fine book on the BBC is here.
I also had a trip to Blackpool, as mentioned earlier, which was very enjoyable and introduced me to a musician of whom I had never previously heard. Leo Chadburn soundtracked the movie at the centre of the exhibition in the Grundy Art Gallery, and he closed proceedings with a performance of a piece inspired by the correspondence between Margaret Thatcher and Ronald Reagan. It was fabulous, almost touching the genius of Scott Walker at times - and by that, I obviously don't mean the melodic Scott Walker, but the creator of Tilt and The Drift.
Leo Chadburn also performs under the name Simon Bookish and I'm gradually exploring his work. This album, Everything/Everything, in particular, is stunning, like the Decca-era David Bowie covering Slapp Happy's Casablanca Moon, accompanied by the Fires of London. (There's one for the teenagers.)
This is Mr Chadburn/Bookish, wearing a shirt that Robyn Hitchcock would have been proud of in 1985:
Subscribe to:
Posts (Atom)