![]() Playing the Coach House last summer, Hitchcock carried on in the tradition of one of his big influences, Monty Python’s Flying Circus, spinning an absurdist tale about trying to save a whale beached in a pond of soapsuds and somehow relating that to the Bosnian crisis. In concert, his impromptu spoken riffs can be as entertaining as his catchy musical ones. It’s as an extemporizer that Hitchcock stands at or near the pinnacle of pop. ![]() In terms of melodiousness, philosophical resonance, breadth of imagination and cohesiveness of vision, few have outdone the British musician’s most recent albums, “Perspex Island” (1991) and the newly released “Respect.” There also are better rock songwriters than Hitchcock, but not many, at least not lately. ![]() There are any number of pop-rock singers with greater natural talent than Robyn Hitchcock, although his thin, chesty-nasal voice is sufficient to get the job done, particularly with helpful harmony support from bassist Andy Metcalfe and drummer Morris Windsor, his confederates in Robyn Hitchcock & the Egyptians. ![]()
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