Robert Wyatt, '68

Drummer-singer-songwriter for the original Soft Machine lineup, Robert Wyatt had much to do with shaping the sound of that band in its early days. His whimsical songwriting style, faux casual vocal delivery and busy progressive drumming stamped the band as a world apart. Of course Mike Ratledge on keys gave the band something critical too, but then his influence stayed with the group throughout its first quasi-psychedelic period and through most of its later jazz-rock incarnation.

That first period was something in its own right. The Softs carved a distinct niche as a proto-progressive rock art band that sounded like nothing before. At the peak of the band's initial exposure (after touring with Hendrix) Robert Wyatt recorded some sides in a New York studio, then more in California. Only half of it ever saw the light of day. But now the whole is out and you can hear it as '68 (Cuneiform). There's a limited edition LP and a CD version as well. And it is most welcome for its own special qualities and the light it sheds on the period.

Wyatt comes through with a set of often quirky unpredictable numbers, playing many of the instruments himself (though Hendrix is on bass for one, and sometimes the keys sound uncannily like Ratledge) and giving us quite a bit more of the songwriting he was doing with the Softs. There is even a first version of "Moon in June", that iconic Wyatt song that formed a side later on when the Softs reformed and recorded the double-album Third. Here it has its own trajectory--not better than the Soft version, but interesting in its own way.

If you love Wyatt and the early Soft Machine's approach, this will most certainly be a revelation. Not everything here is a masterpiece--some is a little silly, but only a little bit of it. The rest you won't want to miss.

It's probably the reissue/unissue of the year for me. So give it an earful, please.

Adrian Benavides, Same Time Next Life

The multi-instrumentalist Adrian Benavides makes his solo debut with a jump-out-of-your speakers disk: Same Time Next Life (Unsung 016). Touch guitarist mastermind Markus Reuter shared the co-writing and co-production duties with Adrian. King Crimson's Pat Mastelotto supplied the heated drumming.

It's heavy music, music with an edge, post-prog with an attitude, metal with a brain. The music comes at you hard and full, much of the time, with a few lyric interludes for contrast. There is a bit of industrial in the mix but never in a formulaic way.

It's in expanded song form with vocals by Adrian, weaving around the theme of shock and bereavement of a father on the death of his daughter. In fact it is a personal response by Benavides to the stillborn birth of his daughter Valentina.

This is avant rock of a high order. It's a great example of places art rock is going today.

New Elysian Fields [Last Night On Earth] Filled with Nifty Songs, Jennifer's Wonderous Voice

Elysian Fields generally get my attention, whatever they happen to be doing at any point. Whether it's Spanish Sephardic tradition reworked, ultra-hip post-cabaret, or downtown rock, they have a way about them. The new one, Last Night On Earth (OJET 013) goes the route of their highly individual rock and it does so with lots of style and panache.

Oran Bloedow is on hand as usual as song co-author, bassist, keyboarder, guitarist and second vocalist. Jennifer Charles does the main vocals as only she can, and co-wrote the songs.

It is very like Elysian Fields to begin a potentially apocalyptic-themed album with "Sleepover." Should the adolescents twist to Chubby Checker? Ah, but lurking in the shadows is a guy with a knife. It's the combination of sweetness and darkness that make this group a part of the times, like a David Lynch movie.

Jennifer Charles' voice comes across as well as ever with her indolent delivery and breathy whisper-vocals. There is nobody quite like her. But hey also the lyrics and songs here are good-o.

This may well solidify and multiply the Elysian following. But it isn't like they are "selling out." You still get music of depth, with plenty to experience and mull over.

For the guitarists reading this, there's a blistering solo or two. It's the songs and Jennifer's voice that make the Elysians special, though.

Special.

I recommend Last Night very much. It's one of their best.