Robyn Hitchcock / Robyn Hitchcock
Artist Robyn Hitchcock
Album Title: Robyn Hitchcock
Album Cover:
Primary Genre Alternative & Punk: Indie
Format Vinyl
Released 04/21/2017
Label Yep Roc Records
Catalog No YEP-2483
Bar Code No 6 34457 24831 1
Packaging Gatefold LP Sleeve
Tracks
A1. I Want To Tell You About What I Want (3:42)
A2. Virginia Woolf (2:53)
A3. I Pray When I'm Drunk (2:06)
A4. Mad Shelley's Letterbox (3:38)
A5. Sayonara Judge (5:55)
B1. Detective Mindhorn (3:28)
B2. 1970 In Aspic (3:14)
B3. Raymond And The Wires (2:21)
B4. Autumn Sunglasses (5:06)
B5. Time Coast (3:42)
Date Acquired 09/10/2017
Personal Rating
Acquired from Electric Fetus - Duluth
Purchase Price 21.99

Web Links

All Music Guide entry:
Discogs entry:
Musicbrainz entry:

Notes

Notes:
Described as “an ecstatic work of negativity,” Robyn Hitchcock was recorded in the British icon’s adopted home of Nashville, Tennessee with producer Brendan Benson of The Raconteurs. He was joined in studio by guitarist Annie McCue, bassist Jon Estes, and drummer Jon Radford, along with singers Gillian Welch, Wilco’s Pat Sansone, Grant Lee Phillips, and Emma Swift.
Includes digital download code.

Credits:
Bass – Jon Estes
Cover [Coper Artwork] – James Bellesini
Drums – Jon Radford
Engineer [Assistance] – Christian Rigdon
Guitar – Anne McCue
Guitar, Keyboards, Vocals – Robyn Hitchcock
Pedal Steel Guitar [Pedal Steel] – Russ Pahl
Photography By – Jeremy Dylan
Photography By [Cover] – Emma Swift
Producer – Robyn Hitchcock
Producer, Mixed By, Engineer – Brendan Benson
Sleeve, Design, Layout – Johnny Whitman
Songwriter [All Songs By], Liner Notes – Robyn Hitchcock

Companies, etc.:
Copyright © – Robyn Hitchcock
Phonographic Copyright ℗ – Robyn Hitchcock
Licensed To – Yep Roc Records
Distributed By – Redeye
Recorded At – Readymade
Published By – BMG Chrysalis Music
Pressed By – GZ Media – 153252E

Barcode and other Identifiers:
Barcode: 634457248311
Matrix / Runout (A-side runout stamped): LP YEP 2483 153252E1/B
Matrix / Runout (B-side runout stamped): LP YEP 2483 153252E2/A

Reviews
AllMusic Review by James Christopher Monger:

Eponymous albums usually herald a debut or a stylistic sea change. Robyn Hitchcock's 22nd studio LP is neither, but it embraces elements of both. Recorded in Nashville with pop sorcerer Brendan Benson, it's a distillation of the 64-year-old surrealist's entire career, and easily his most vibrant collection of new music since the early 1990s -- his last outing, 2014's Man Upstairs, saw Hitchcock delivering an enjoyable, yet relatively amorphous set of half-covers/half-originals under the tutelage of the great Joe Boyd. The obvious reference points here are Underwater Moonlight-era Soft Boys and early solo outings like Element of Light and Black Snake Diamond Role, but there are more than a few tips of the hat to his time on A&M in the late '80s -- lead single "I Want to Tell You About What I Want" wouldn't have sounded out of place on Globe of Frogs or Queen Elvis. Always an underrated and inventive guitar player, Benson gives Hitchcock plenty of room to flex his six-string muscles, and he digs into psych rock/jangle pop confections like "Virginia Woolf," "Detective Mindhorn," "Time Coast," and "Mad Shelley's Letterbox" with the fleet-fingered, double-tracked glee of a man who just rediscovered Revolver. Hitchcock's adopted hometown of Nashville looms large on the Grant-Lee Phillips-assisted, pseudo-honky tonk number "I Pray When I'm Drunk," and Russ Pahl's weepy pedal steel paints golden sunsets over the lovely "Sayonara Judge" and the equally breezy "1970 in Aspic," but as Hitchcock states in his typically verbose liner notes, his songs are "English myths, seen from abroad." Nowhere is that more apparent than on "Raymond of the Wires," a eulogy for his novelist, screenwriter, and cartoonist father, and an elliptical, psych-pop mini-masterpiece that skillfully wields both nostalgia and wonder. No longer the hyper-prolific, Byzantine food-, sex-, and death-obsessed Syd Barrett-phile of old -- well, maybe just a little bit -- Hitchcock has settled into a sort of seasoned eccentricity, and this economical, late career gem proves that he's still got plenty of Madcap Laughs left in the hopper.

Cover 1
Cover 2
Cover 3
Cover 4
Cover 5
Cover 6
Cover 7
Cover 8