Customer Reviews

Goodnight Oslo

5 star:		(9)
4 star:		(4)
3 star:		(4)
2 star:		(0)
1 star:		(0)

 

 

I can't remember the last time that a record actually made me drop everything I was doing to stop and concentrate on it. This evening I loaded "Goodnight, Oslo" into the cd player and then sat down to work on my art. But by the third song, I had to stop and move to the couch and just listen. That's the kind of album this is.

"Goodnight, Oslo" rings out bright and confident from the start. There's a drive to this record, an energy, an honesty, that's been lacking on some of his more recent efforts. The 1st track, "What You Is," will remind Dylan afficionados of Mr.Zimmerman's "Shot of Love" phase, resplendent with gospely background vocals. "You might have been a villain with a capital V," Robyn scolds, in his best Dylanesque finger-wag. "Your Head Here," has a similar blues/country drive you might find on Dylan's "Modern Times." But the chorus is pure Robyn, accompanied beautifully as ever by Venus 3'r and R.E.M. guitarist, Peter Buck. Robyn's love of the Kinks is in evidence with the charming "Saturday Groovers," which opens with a chorus of harmonies the Beach Boys would've been proud of.

It's funny, because Robyn started his music career in the late 1970s proffering some of the most wicked observations of human nature. Reference songs of his such as "Sandra's Having Her Brain Out," "Old Pervert," or "I Wanna Destroy You!" His acerbic wit, his edge, his anger, was unmistakable astride his catchy pop melodies. But the story of how Robyn Hitchcock then transformed from one of the angry songwriter's of rock into someone who has written some of the most heartbraking and jaw-droppingly gorgeous love songs is one that is sure to keep future generations of grad students busy with their theses. I say all this as I'm listening to "I'm Falling," yet another one of his devastatingly beautiful ballads. One that will make you pause, that will penetrate you straight to your heart. If it doesn't then you don't have a soul.

"Hurry for the Sky" and "Sixteen Years" returns us back to Robyn via Dylan. "Sixteen" may be the darkest song here, melodically and lyrically speaking. Interesting, since the liner notes state that Buck actually penned the melody, proving he's got Robyn's number!

Continuing on, the song "Up to Our Nex," was featured in the latest Jonathan Demme film "Rachel Getting Married." "Intricate Thing" is sweet and simple, a gentle break from the darkness. But that doesn't last long. We're right back into there with "TLC," which references the logey, druggy psychedelia of Syd Barrett, with lovely, woozy cello breaks. Maybe this song should have been called "THC!" Ha, I kid...

The album ends on a high note. All the urgency of the opening songs is back with "Goodnight, Oslo," a haunting number, with beautiful strings that would've been at home on "Moss Elixir." Peter's guitar chimes strident and eerie over Bill Rieflin's driving drums.

"Goodnight, Oslo," seems to me, Robyn's homage to his influences, and what an homage it is. This is his most striking album in over a decade. The lyrics are sharp as ever, the melodies strong, the performances wonderfully rendered, the production crisp. I don't know that I've ever heard Robyn do quite so much roots rock/country/blues as he demonstrates on this album. And that's not a complaint. Au contraire, give me more! This album is stunning and wholly original.

Robyn Hitchcock may be one of the most prolific songwriters in the history of music. As a songwriter/musician myself who has followed his career closely, loyally, since "Fegmania," I am standing up cheering wildly, calling out "thank you Robyn and your Venutians, for this masterpiece!" I couldn't ask for a better record!

Robyn Hitchcock and the Venus 3's latest adventures into the land of Beatles influenced psychedelia starts off with "What you is" where Peter Buck lays down a steady, solid rhythm on one side, which Hitchcock then builds up and augments with a nice ripping, meandering lead guitar. To finish off the jammy feel that opens the album, female backup vocal singers round things off nicely with ooooh's and aaaah's.

By the time "(is) your head here" kicks in, they've got the listener firmly hooked into the dreamy mood of this great record. The backup vocals bounce back and forth from left to right answering: "or here?, or here? or here?", especially noticeable while listening with earbuds.

Third in line is "Saturday groovers", which could easily have been a song on Sgt. Peppers, with its cheerful "pa-pa-pa-pa-pa's" and horn section.

"I'm falling (take it away)" is next. It's another gorgeous song on which Hitchcock and the band seamlessly blend spectacular Lennonesque harmonies with a string section and jamming twin lead guitars.

Next up is "Hurry for the sky", arguably the most Dylan influenced song on the record, and another great song.

"16 years" has a superb balance of harmonica, Byrds influenced guitar courtesy of Buck, along with more great vocal harmonies. The melody has a mysterious sound about it. Notwithstanding the drug influenced sound on much of Hithchock's music over the years, he's always criticized drug use, yet here, he confesses to 16 years of drug use himself.

A couple of more Beatles influenced songs, any one of which should be a radio hit, but knowing Hitchcock's history of great pop songs which inexplicably didn't become hits, probably won't.

The record ends with the title track, which is another tale about a multi day speed binge in Oslo, Norway back in 1982. Here, a beautiful, haunting string section complements the Byrds-ian guitars and vocal harmonies. The song also beautifully captures the stark and ethereal feeling of Oslo and Norway, land of the midnight sun.

All in all, another great record by Robyn Hitchcock and the Venus 3. As Mr. Hitchcock said in a recent interview, his compass always points back to John Lennon.

Don't miss these guys when they come to your town.

(I actually give the album 3 1/2 stars, for now at least)

Robyn is like the Energizer Bunny of music. This man has not slowed down in thirty years. He releases a lot of product and if your a fan its hard not to love it or eventually get into it after repeated listens. He's nearly impossible to define. Upon listening to Goodnight Oslo I have to admit I was hoping for the same energy that Ole! Tarantula had and was a bit thrown by some of the arrangements on this release. Once I got over that and dug into it several times I ended up getting into it more.

Is this a good album to recommend to a first time listener of Robyn Hitchcock? Probably not with all do respect to Mr. Hitchcock. With a catalog as vast as Robyn has there are other albums much more suited to this purpose. If your a fan of his already then I recommend it but be warned its not his best album by any means.

My real problem with the album other than my initial reaction to the energy level is the use of background singers on this release. They just seem to throw the songs they are used on off a bit. Horns and background singing on songs is a delicate thing in my opinion though and only work when integrated perfectly. This of course is only my opinion. It just feels unnecessary I guess. On a side point it seems like Peter Buck and company weren't even necessary for this album since the arrangments don't really let them shine as brightly as they have on previous releases.

What can I say, if you're a dedicated, long time fan as I am its a bit of a disappointment. If your new to him you may want to dig further into his back catalog first starting with I Often Dream Of Trains, Eye or even Ole! Tarantula for that matter if your interest in this release was initially raised due to the wonderful backup band he has in the Venus 3.

There are few artists as prolific or consistent as Robyn Hitchcock. That can be a curse because it means that critics (and sometimes music fans)over look his work because it's just so amazingly GOOD from album to album.

"Goodnight Oslo" stands as one of Robyn's finest of the previous decade. Working again with the Venus 3 (long time friend Peter Buck of REM, Scott McCaughey on bass and Bill Rieflin on drums), Hitchcock has produced his most tuneful, witty and intelligent batch of songs since he began working with The Egyptians (essentially The Soft Boys without Kimberly Rew)twenty years ago. There are also appearances by long time Hitchcock (and former Soft Boy)stalwart Morris Windsor, Terry Edwards, Jenny Adejayan (who contributes some nice cello parts), Zafer Tawil (violin and bongos!)and Amir ElSaffar.

From the opening melodic slap of "What You Is" to some of the more introspect songs like "Sixteen Years", Hitchcock delivers 10 high quality songs that compare to the best he has produced in a long, varied and prolific career.

One note that some fans should be aware of is that like many newer releases, Yep Roc has released this in a miniature gatefold sleeve NOT in a jewelbox. There are many folks who dislike the miniature gatefold sleeves (and digipaks) because they don't stand up to wear and tear as well. Personally, I just used the inclosed artwork and stored the CD in a slimline jewel case right next to the packaging. It's not a big deal to me but it will be to some. I guess the best way to look at it is that it's a bit more environmentally friendly.

Between this and Robyn's latest album as well as his batch of "Phantom" 45's (mp3's available for download on his website as virtual singles), Robyn continues to push against the boundaries that define an artists best contributions as coming early in their career. Recommended.

Just fantastic. Get it and listen to each song and tune closely. Hitchcock is making the best music of his career, and its been a great career.

Even at its worst, Robyn Hitchcock's work has always been quirky and charming. But with "Goodnight Oslo," Robyn has produced something his fans have awaited for a long time: a thoroughly enjoyable album of unabashed pop. It is his best and most accessible work at least since 1988's "Globe of Frogs."

Much of RH's earlier music, especially solo albums like "I Often Dream of Trains" and "You & Oblivion," seem to dwell in a post-war world where people "crouch in terror and disease" (albeit sometimes in "furry green holes") while awaiting the approaching clouds of radioactive dust (which, coincidentally, seem to have been last sighted over Norway).

Don't get me wrong: I love those albums. They're brilliant and, come high water or nuclear winter, I'll continue to take my Lexapro and listen to them. But it's not exactly surprising that they have failed to make Mr. H a household name, or even to put him on a par with his namesake Alfred. "Goodnight Oslo" is unlikely to change this state of affairs, coming as it does in a post-Top-40 world of niche markets and indie artists. But it is easy to imagine a world in which a copy of this deserving album would find its way to every shelf, a la Fleetwood Mac's "Rumours."

"Goodnight Oslo" is lighthearted without being lightweight. The themes, love and death, haven't changed. But here they are borne with an unoppressed spirit. In the song "Saturday Groovers," RH is able to take the infirmities of aging ("emphysema, heart disease, and gout") in stride and good humor ("I heard you cleaned your act up, you old trout!"). And though you can almost feel the breath of mortality on the back of your neck in "Hurry for the Sky," you never stop tapping your feet happily.

Their many virtues notwithstanding, RH albums have seldom been noted for the sophistication of their production. In fact, in an interview years ago, Robyn took a gentle tweak at artists who get overly involved in production details: "I suppose we could have spent five days in the studio with Eno getting a great snare sound" (paraphrased from memory). This time out, Robyn name-drops Eno in "Saturday Groovers," and also nicks several pages from his book, including the graduated volume increase at the intro of "Your Head Here." In fact, in "Goodnight Oslo" Robyn seems to have taken unusual care with arrangements and production, and it sounds good on him. He does not hesitate to add brass or strings where needed to flesh out the Venus 3's armory of guitar, bass, and drums. Guitar effects are used extensively and tastefully.

Robyn's mature voice has taken on a dusky quality, but "Goodnight Oslo" finds Robyn and his cohort in excellent voice. The harmonies are rich and spot on (especially when they're intentionally slightly off), and his articulation is as clear and precise as I've ever heard it.

But ultimately, it's the quality of the songs -- catchy, haunting, and lovely, by turns -- that make "Goodnight Oslo" an enduring and alluring work. This is one I know I'll be coming back to in the years ahead. I expect to be singing along until I might run out of breath.

Robyn Hitchcock has, occasionally, done the 'one for them, one for me' style of recording, wherein one album will seem geared towards expanding his base, and the next will focus on whatever he wants to do. Think of the power-pop lushness of Perspex Island followed by the fascinating, more experimental Respect, for instance. In many ways, he's doing that here. His last release, Olé! Tarantula, was a densely packed, hook-laden piece of neo-psychedelic pop that highlighted his strongest radio-ready instincts. That it didn't get any airplay is moot. The fact is, 'Ole Tarantula' was a warm, welcoming collection of music, and his new release, 'Goodnight Oslo', is more of a puzzle. Hitchcock isn't saying that we're unwelcome, but something along the lines of 'my house, my rules...you're welcome to come along.'

The album starts out with the insanely catchy "What You Is," which echoes Motown with its backup vocals while remaining very 'Hitchcock-ian." The listener might be fooled into thinking we've got another Tarantula on our hands, but he immediately veers into the rambling, half-spoken, densely layered "Your Head Here," and follows THAT up with "Saturday Groovers," which channels, I kid you not, the Bay City Rollers with only the mildest ironic touch in his vocals. I'll be honest, it took some effort to keep listening after that one.

However, after that, Hitchcock and the Venus 3 (Peter Buck of REM, Scott McCaughey of Young Fresh Fellows, and Bill Rieflin, augmented by strings here and there, horns here and there, and a stray Egyptian) go into an eclectic mix of music that touches on country ("Hurry for the Sky"), self-reflective (maybe)folk ("Sixteen Years"), the lush, layered ballad "Goodnight Oslo," and the catchy organic shuffle of "Up to Our Nex." Other tracks keep the hooky goodness coming.

The incredible thing about this is that it all holds together so well. One thing that is always unmistakable is that this is a Robyn Hitchcock album. His personality stamp is on everything here, no matter how eclectic the styles may be. To their credit, the album holds together and flows very well from track to track, and is ultimately a challenging, rewarding experience. In some ways I'm reminded of Jewels for Sophia, another album of his that went from style to style but ended up very well. This doesn't have the ramshackle 'live' feel of that album, but is similar in execution, studio sheen notwithstanding.


'Goodnight Oslo' is a considered but self-indulgent record that is not without considerable rewards. You just have to be patient and willing to follow Hitchcock and the Venus 3 where they want to go. I'm on for that ride.

If you're old enough to have been a Beatles fan throughout their years, you can defintely feel the very strong influence on this LP/CD. Of course, that's what Robyn does, throw in a song or two that you can feel their presence in almost everyone of his LP's with the exception of his Soft Boys days.

'Oslo' is even more refined than the 'Tarantula' CD. While there is no weak cut on this CD, my favorites include the title tune, "Goodnight Oslo" and "Your Head Here". "TLC" has quickly moved into the #3 spot, as I find this his greatest effort yet. And I own every one of his LP's or CD's.

If you get the chance to see him LIVE, do so! It'll be the best gig you've ever witnessed!

Every song a pleasure. Production reminiscent of Queen Elvis and Perspex Island. Very polished. Must have worked their butts off on this one. Love the horns, chicks singing background. Lots of 12-strings ringing out. I know you read the term "best thing since..." alot, so I won't write that, but... Hitchcock lovers have endured many repackages and completist compilations from this prolific cat, and this is a straight-up GREAT pop record. I mean GREAT. Ole Robyn! Come back to upstate New York some time, buddy. You can finish reading Naked Lunch. Everybody else, buy this record. The download was available early and was an outstanding value.

this is perhaps too "nice" a recording to stand alongside robyn's most brilliant work. it's staid, and safe, and not very fussy at all. yet sonic experimentation's NOT mr h's metier--if it ever was. still, you should buy this disc on account of the songs are very solid and MUCH better than most of the dross out there these dark days.

that said--here are my thoughts:

there are some really haunting melodies on this new robyn that hark back to when he was even more in love with john lennon than he is now. i'm talking "element of light" and i am NOT slagging hitchcock--just pointing up the anxiety of his main (along with Barrett and Dylan) influence.

and yet it sounds like this record was made by a BAND--a sensibility that was missing from "Ole" and of course the more recent primarily acoustic outings hitch's treated us to.

the melodies lilt and float. i wish he had a drummer that really lifted these mini-masterpieces into the strat(ospshere).

perhaps the ministry guy's being too "reverent" to hitch, his legacy, his achievement.

a carp of the minor ilk. this is a very satisfying recording.

robyn continues to afford us all to remember what it is like to be struck by pure beauty--in song, in atmospherics, in his extra-poetic observations.

there are these GREAT chorale-sort of thingys as well: plus points, mate.