In the next few months, Domino are planning a big reissue series of the Robert Wyatt back catalogue, and the arrival of the first batch the other week compelled me to dust down this interview transcript from the summer of 2007. I visited Wyatt at home in Louth, a little before the marvellous “Comicopera” was released. An edited version of the interview appeared in Uncut last year but, if you’ll excuse my indulgence, I thought the whole thing was worth putting out there. An incredible man, I think.
Click on the link for Part One of the interview.
You recorded with Syd Barrett.
Well he asked us. I was really surprised, but we [Soft Machine and The Pink Floyd] were two bands that played in the same places that weren’t playing “In The Midnight Hour” and stuff – because neither of us could play it very well, probably.
Click on the links for Part One and Part Two of the interview.
That “Rock Bottom” was partially written before accident is fascinating, because it’s so often stereotyped as a post-traumatic record.
It’s a funny thing, I always feel embarrassed to say this, but I don’t mind being in a wheelchair.
Click on the links for Part One, Part Two and Part Three of the interview.
Is it fair to see the last three LPs of a piece? They seem to sit together as a sequence.
Yeah I think what I found, funnily enough, is sometimes you get what you want when you stop trying to get it.
To Leicester Square this morning, and the launch of this year’s London Film Festival. There’s always something of a guessing game, prior to the announcement of the line-up, about what’ll be showing. This year, for instance, I’d been hoping we might get John Hillcoat’s adaptation of Cormac McCarthy’s The Road, Mickey Rourke’s apparently astonishing comeback in The Wrestler and Sam Mendes’ film of Revolutionary Road, Richard Yates' novel I recently read and thought was incredible.
No such luck as at least two of them aren't finished yet, but still – the line-up is pretty strong. There’s an artful of choice of marquee name movies mixed with some excellent left-field selections, a fantastic looking documentary about one of the great 60s folk singers and a film which, despite having the most unwieldy name in film history, will be one of the biggest hits of the year.
