ROBERT WYATT IN BRIEF

This man is a genre unto himself. He's been affiliated with certain scenes (Canterbury prog, the early Rough Trade movement), but these were always transcended by the undeniably idiosyncractic nature of his vocals and his unique approach to songcraft.

It's easy to forget how unconventional Wyatt's vocals are after several years of hearing them - as ridiculous and crass as it sounds, 'mouselike' was the word that came into my head upon first hearing the solo album 'Rock Bottom'. A total lack of guile or pretence comes across, not to mention disarming beauty. Along with the vocals, inevitably, comes the music, which throws together bits and pieces from all over the world, but often comes back to quivering keyboards and remarkably odd yet immersive chord sequences. It occured to me a few months ago that one of his most endearing traits was his use of voices on the keyboard which no-one else could realistically get a tune out of.

I couldn't get away with discussing Robert Wyatt without mentioning that night in 1973 when he drunkenly tumbled out of a fourth floor window. Tragically, he was paralyzed and consigned to a wheelchair for the rest of his life. Even more commendable than his ability to continue producing music beyond this date was the way in which he miraculously turned a disaster into a positive. Although his conventional drumming days were over (his jazz-inflected style being the powerhouse behind early Soft Machine albums), he was motivated to bring his mastery of composition up to a frequently astounding new level of emotional expression.

I'll fill in other bits of the story with a choice selection of five albums and ten tracks. As ever, my knowledge (and album collection) may not be without holes, but hopefully what follows will give any newcomers an overview of where the guy is coming from.


TOP 5 ALBUMS

1. Rock Bottom (1974)

A classic example of an album which absolutely has to be heard in its entirety for full effect, this was the first post-accident record. There may be a lot of pain coming through these songs, but there's a lot of joy (ecstacy even) as well - he had recently married Alfreda Benge. Also, outside of Lee Perry's Black Ark, no-one has created such a convincingly 'underwater' atmosphere with their music. Oh, and look out for a wonderful Ivor Cutler cameo too!


'Little Red Riding Hood Hit The Road'.


2. Nothing Can Stop Us (1982)

One key element of the Wyatt oeuvre which i've all but glossed over thus far is his firm identification with the political left (i think i'm right in saying that he's a member of the Communist Party). This collection features only one Wyatt original, but the covers/interpretations combine fervent polemic with moving, sonically fascinating arrangements.


'Shipbuilding' - this may not appear on all versions of the album, but it's from the same era, not to mention devastating in its solemn power.


3. Soft Machine Vols. 1 & 2 (1968/9)

Essentially Wyatt's alma mater, Soft Machine's thrilling early material represents the point at which the psychedelic began to gradually evolve, for better or worse, into the progressive. Later albums would lean heavily on extended jazz-fusion workouts (especially after Wyatt's departure in 1971), but this compilation shows them at their most accessible.


'Hope For Happiness', 'Joy Of A Toy' and 'Why Am I So Short?' from Vol. 1.


4. Comicopera (2007)

After a period of insular, almost home-made recordings, Wyatt re-emerged in the late 90's and the 00's with an adventurous triumverate of albums almost brimming over with guest appearances from admirers and old Canterbury friends - who else could get both Paul Weller and Brian Eno onto the same album? It bodes very nicely for the future that my favourite of these LPs was also the most recent.


'Just As You Are'.


5. Old Rottenhat (1985)

Some might find this one's sparse atmosphere and relative lack of variety a bit claustrophobic, but it works very nicely for me. The political themes are still at the fore, whilst the densely layered keyboards provide a spooky accompaniment for some haunting, melancholy melodies.


'The Age Of Self'.


TOP 10 SONGS

1. Sea Song (from Rock Bottom, 1974)

The swirling, emotionally-charged album opener - features some oddly effecting scat vocalisations.


A stunning re-arrangement taken from a BBC4 documentary.


2. At Last I Am Free (from Nothing Can Stop Us, 1982)

The Chic song is overhauled to wistful yet potent effect.


An incomplete clip, but hey, it's something.


3. O Caroline (from Matching Mole, 1972)

The eponymous debut from the band Wyatt formed after Soft Machine mostly consisted of meandering improvisation, but this tender jewel bucked the trend brilliantly.




4. As Long As He Lies Perfectly Still (from Soft Machine Vol. 2, 1969)

My personal SM favourite, this storming slice of fuzzy acid-rock is also strangely poignant on account of Wyatt's vocal tribute to former member Kevin Ayers.




5. A Last Straw (from Rock Bottom, 1974)

I'm going to be good and leave it at just two tracks from this album (well, three including 'Little Red Riding Hood'), this one being characterised by captivating, unpredictable chord changes.




6. On The Town Square (from Comicopera, 2007)

A stirring steel drum-led instrumental - a moment of relative respite on a knotty yet highly rewarding album.

Unfortunately, HughTube has failed us here, so as a replacement, here's the stately 'Del Mundo'.




7. Born Again Cretin (from Nothing Can Stop Us, 1982)

The sole non-cover from this collection, bringing the thrilling sound of an army of chanting Roberts in undulating, magnificent harmony.




8. Gharbzadegi (from Old Rottenhat, 1985)

That album's most immediately approachable moment - Wyatt may not be able to drum conventionally any more, but he can still do some very interesting things with percussion.


Another performance from BBC4.


9. Free Will And Testament (from Shleep, 1997)

A relatively conventional highlight from the first of the 'comeback' LPs - "what kind of spider understands arachnophobia?"


The BBC4 doc again. The Italian subtitles seem oddly fitting.


10. Beware (from Cuckooland, 2003)

Taken from the most daunting of the recent albums, this demonstrates his singular ability to combine the mournful and the chaotic.




11. The Sweetest Girl (from Songs To Remember, 1982)

Okay, so this bonus track is a Scritti Politti song, but it's damn lovely all the same, featuring some distinctive keyboard work from our old friend.