19 Songs, 1 Hour 38 Minutes

EDITORS’ NOTES

These nineteen tracks come from five EPs that cover various periods in Robert Wyatt’s long and creatively unpredictable career. They’re singles, B-sides, live cuts, alternate takes and remixes. In some ways, it makes for Wyatt’s most accessible album. His pop instincts are close to the surface. His take on the Monkees hit, here as an unreleased, extended version of “I’m a Believer,” the luminous beauty of Peter Gabriel’s “Biko” and his impressive cover of Elvis Costello’s “Shipbuilding” are remarkably listener-friendly for a man who often prided his work for its unusual approaches and emphasis on jazz-rock stylings. Chris Andrews’ “Yesterday Man,” Thelonious Monk’s “Round Midnight” and Eubie Blake’s “Memories of You” show Wyatt’s further talents as a grand interpreter. “The Animals’ Farm” is a twenty-minute piece of music that served as the soundtrack to Victor Schonfeld’s 1982 film. The final four tracks are remixes from Wyatt’s album Shleep, worked out by Nigel Butler and Angie Dial from unfinished tapes. This is a great mop-up of rare and alternate tracks, as essential as any Robert Wyatt album.

EDITORS’ NOTES

These nineteen tracks come from five EPs that cover various periods in Robert Wyatt’s long and creatively unpredictable career. They’re singles, B-sides, live cuts, alternate takes and remixes. In some ways, it makes for Wyatt’s most accessible album. His pop instincts are close to the surface. His take on the Monkees hit, here as an unreleased, extended version of “I’m a Believer,” the luminous beauty of Peter Gabriel’s “Biko” and his impressive cover of Elvis Costello’s “Shipbuilding” are remarkably listener-friendly for a man who often prided his work for its unusual approaches and emphasis on jazz-rock stylings. Chris Andrews’ “Yesterday Man,” Thelonious Monk’s “Round Midnight” and Eubie Blake’s “Memories of You” show Wyatt’s further talents as a grand interpreter. “The Animals’ Farm” is a twenty-minute piece of music that served as the soundtrack to Victor Schonfeld’s 1982 film. The final four tracks are remixes from Wyatt’s album Shleep, worked out by Nigel Butler and Angie Dial from unfinished tapes. This is a great mop-up of rare and alternate tracks, as essential as any Robert Wyatt album.

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