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Nextdoorland


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Audio CD, September 24, 2002
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Music

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Biography

Swarming hymns of 2nd generation psychedelic pop mastery, The Soft Boys' two most influential and groundbreaking albums are finally back in print via Yep Roc Records. Main man Robyn Hitchcock, along with demon guitarist Kimberley Rew, bassist Matthew Seligman and drummer Morris Windsor manage to bottle '60s guitar pop, shake it up with caged teenage fury and cut it all with a healthy ... Read more in Amazon's The Soft Boys Store

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Product Details

  • Audio CD (September 24, 2002)
  • Number of Discs: 1
  • Label: Matador Records
  • ASIN: B00006FRUM
  • Average Customer Review: 4.4 out of 5 stars  See all reviews (14 customer reviews)
  • Amazon Best Sellers Rank: #324,887 in Music (See Top 100 in Music)

1. I Love Lucy
2. Pulse Of My Heart
3. Mr. Kennedy
4. Unprotected Love
5. My Mind Is Connected To Your Dreams
6. Sudden Town
7. Strings
8. Japanese Captain
9. La Cheriti
10. Lions And Tigers

Editorial Reviews

Their first album in 20 years from Robyn Hitchcock's Soft Boys, featuring the classic lineup of the great Kimberley Rew on guitar, Matthew Seligman on bass and Morris Windsor on drums. Matador. 2002.

Customer Reviews

4.4 out of 5 stars
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Most Helpful Customer Reviews

9 of 9 people found the following review helpful By JG on October 18, 2002
Format: Audio CD Verified Purchase
It's a Soft Boys album, but it sounds like the evolution of Robyn Hitchcock to me. He's been quoted as saying "when I make a record with a band, it turns out to be a Beatles record". I'd agree with that, but Beatles at their jammingest.

The twin lead guitar interplay between Robyn and Kimberly Rew is nothing short of breathtaking. The lyrics are signature Robyn Hitchcock surreal, but at one point, he eerily captures the strange and scary times we live in: "Evil is the new enemy / I wish I could say that I was just paranoid" (from "Strings").

The beauty of this CD is that Hitchcock and his band gracefully manages to walk the thin line between melodic pop and total, over the edge, into the abyss guitar freakout.

All in all, an excellent album, which will definitely stand the test of time.
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10 of 11 people found the following review helpful By Wayne Klein HALL OF FAMETOP 500 REVIEWERVINE VOICE on September 26, 2002
Format: Audio CD
The years have been kind to Robyn Hitchcock. His early music with The Soft Boys sounds as fresh, vital and quirky as when it was first released over two decades ago. This reunion album made me a bit skeptical at first. You may not be able to go home again, but you can go next door and visit with the neighbors.
Nextdoorland is full of the rocking charms we've come to expect from Hitchcock. What's more is that the performances by his band The Soft Boys is top notch. Kimberly Rew's guitar snarls and snaps alternating chords thick as a tree stump. His playing hasn't been this refreshing or challenging since his solo albums and early Katrina & The Waves where it was a lot more polished and, well, poppy. Poppy is OK but Rew has always been an interesting guitar player and capable of so much more. Hitchcock and the other Soft Boys bring out the best in him.
The album is littered with a number of gems. Like a lot of Hitchcock solo albums, there's a fair amount of filler as well but the quality of the filler tracks is better than most artist's achieve in a lifetime. Always interesting as a solo artist, Hitchcock and The Soft Boys return with a strong album. It isn't Underwater Moonlight, nor is it meant to be. The starkness of that seminal album and the diy feel is evident in every track on Nowhereland.
I'd also recommend picking up Kimberly Rew's latest solo album. Although it isn't as strong or compelling as Tunnel Into Summer, it's stocked with melodic, riff driven rock 'n' roll. Rew hasn't sounded this good in years and clearly his new found solo career has invigorated him.
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7 of 7 people found the following review helpful By Garry Messick on May 13, 2003
Format: Audio CD
Some might be disapointed that the Soft Boys' first album in 20 years isn't Underwater Moonlight jr. But to my ears, Nextdoorland is actually superior in some respects. For one thing, the band is playing better than ever. (Several tracks feature some terrific extended dual guitar interplay between Robyn Hitchcock and Kimberly Rew that's a bit reminiscent of Television, oddly enough.) There's real verve and energy in the sound and performances, and the songwriting is consistently engaging, featuring structures that never go where you think they will (a chorus comes in where you'd expect another verse, parts flow into parts without coming to a conventional chorus, songs that end in abrupt, unexpected eays, etc.). All in all, a triumphant return for Hitchcock and company.
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3 of 3 people found the following review helpful By tonguepaste on September 27, 2002
Format: Audio CD
I wondered what a new Soft Boys album would sound like at this point, 20 years after the release of their classic 1980 neo-psychedelic jewel Underwater Moonlight and after songwriter and Soft Boys guitarist/singer Robyn Hitchcock's 15+ solo albums. But I wasn't disappointed: the first new notes of the opening track, I Love Lucy, a mostly-instrumental, were pure Soft Boys. Guitarist Kimberly Rew's crazy licks brings this whole effort way back to 1980 while still integrating Hitchcock's evolved pop and lyrical sensibilities. Like Underwater Moonlight and unlike all of the earlier, more haywire Soft Boys albums, Nextdoorland is a melodically perfect album with fantastic hooks, top-caliber musicianship and the right amount of dissonance. No Robyn Hitchcock album is complete without a certain quantity of lyrical wackiness, and certainly no Soft Boys album would be complete without the same, but, like Hitchcock's more recent solo efforts, he seems to at last have located a happy medium between wackiness-for-the-sake-of-itself and a desirable quantity of eccentricity. He's gone from Lewis Carroll to Italo Calvino, in other words.
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3 of 3 people found the following review helpful By aharon levy on April 20, 2003
Format: Audio CD
The psychedelia-lite of this album, with proudly raspy, utterly English vocals, emphatically enigmatic lyrics and duelling guitars, calls to mind nothing so much as the mid-90's pilferings of Britpop. But of course the grave that the likes of Elastica were robbing was that of great defunct bands like...The Soft Boys. Revisiting these revisitations seems strangely appropriate for the ultra-arch Hithcock and pals, and they don't really bother with the authenticity worries that their long hiatus might engender, but get right down to the business of putting together stretched-out poppy/punky/new wave guitar tunes with a surprisingly strong backbeat. There are a few clunkers, but generally it's a joy to listen to, and if some of the songs sound like they're made by a convention of Andy Partridge, Mick Jagger, and Ray Davies, well, you could do a lot worse. You can almost hear Blur's Damon Albarn taking notes.
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