Robert Wyatt: Classic or Dud?

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

Wow...I'm lovin' it like a Mickey D's fruit walnut salad...

Really cool droney, crazy ol' man EZ listening prog or something....it's DEFINITELY something...that's for sure....Sea Song is just a heartbreaking love song...."Your madness fits in nicely with my own" is such a sweet like....I love the big droney songs called Little Red Robin Hood....

Great organ sounds....bewitching record.