Chicago Sun-Times
May 9, 1993
A Robyn Hitchcock Discography
by Jim DeRogatis
Since launching his solo career in 1981, Robyn Hitchcock's albums have followed a predictable pattern. Each features four or five irresistible new Pop songs, as well as a batch of Hitchcock-by-numbers fillers and the occasional experiment gone wrong.
Over the course of 20 albums, this has been an amazing accomplishment: a comprehensive Hitchcock compilation would be rivaled only by Neil Young's Decade for the number of brilliant and diverse tunes. But until someone puts that boxed set together, these albums represent Hitchcock at his best.
Underwater Moonlight (1980) by The Soft Boys (Rykodisc) ****
The Soft Boys' last album was surprisingly polished and consistent, considering that it was recorded at different times in three different studios. From the invigorating opening of the anti-war/Punk goof, "I Wanna Destroy You", through the final strains of the Byrds- and Fairport Convention-inspired title track, this is inventive and infectious Psychedelic Pop -- as much a masterpiece of the genre as The Beatles' Revolver.
(Rykodisc reissued The Soft Boys' three studio albums in 1991. A collection of rarities is scheduled to be released in the next few months.)
Black Snake Diamond Role (Relativity, 1981) ****
It's impossible to listen to Hitchcock's first solo album without smiling at the silly mock-opera "Do Policemen Sing?" and the jaunty "The Man Who Invented Himself". But this disc also contains one of the singer's most poignant ballads, "Acid Bird".
I Often Dream Of Trains (Relativity, 1984) ****½
Hitchcock has taken a sabbatical before: In 1984, he resurfaced after two years with his best album. I Often Dream Of Trains is a strikingly original acoustic collection that includes somber meditations ("Sounds Great When You're Dead"), edgy Syd Barrett Pop ("This Could Be The Day") and whimsical nonsense (the a cappella tunes "Furry Green Atom Bowl" and "Uncorrected Personality Traits", a favorite Egyptians encore).
Invisible Hitchcock (Relativity, 1986) ***
This collection of outtakes and home recordings is one of Hitchcock's most coherent albums -- at least as coherent as an album with songs such as "Eaten By Her Own Dinner", "Give Me A Spanner, Ralph", and "The Abandoned Brain" can be.
Eye (Twin/Tone, 1990) ***
Hitchcock continued flirting with acid weirdness on his first two major-label albums. But songs such as "Balloon Man" and "Tropical Flesh Mandala" were starting to sound contrived. He recharged by recording an independent solo album and touring alone with an acoustic guitar. Eye sounds repetitive after 18 tracks, but memorable tunes such as "Cynthia Mask", "Queen Elvis", and "Beautiful Girl" make it worthwhile.
Perspex Island (A&M, 1991) ***½
Simple and straightforward, this is a solid (if unsuccessful) bid for chart success. "So You Think You're In Love" and "Oceanside" are Hitchcock at his catchiest and most direct, and "She Doesn't Exist" (featuring backing vocals by Michael Stipe) is one of the all-time great kiss-off songs.
Respect (A&M, 1993) ***½
Hitchcock's latest may be a laid-back acoustic effort, but its best songs are as immediate as the would-be hits on Perspex Island. The album includes uplifting rockers -- such as "The Yip Song" and "Driving Aloud (Radio Storm)" -- as well as some of Hitchcock's most touching ballads. But "Wafflehead" is his worst failed experiment since "Ted, Woody And Junior" in 1986.
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