Scooter Chronicles

Van Der Graff Generator - “Pawn Hearts”

Tracks:

1. Lemmings (Including Cog)
2. Man-Erg
3. A Plague of Lighthouse Keepers
   1. Eyewitness
   2. Pictures / Lighthouse
   3. Eyewitness
   4. S.H.M.
   5. Presence of the Night
   6. Kosmos Tours
   7. (Custard’s) Last Stand
   8. The Clot Thickens
   9. Land’s End (Sineline)
   10. We Go Now

Being a progressive rock fan for as long as I have, it is strange that it took me so long to finally start listening to Van Der Graaf Generator. It wasn’t until a few years ago, and mostly through the lead singer of a band that Marcia was a part of, did I start really listening and liking what I heard.

(From left in back:) Peter Hammill (vocals, piano, guitar), David Jackson (saxophones, flute), Guy Evans (drums), and (in front) Hugh Banton (organ, keyboards, bass).

“Pawn Hearts” is often considered the quintessential Van Der Graaf album, and just as often considered their worst. Naturally it was the first that I bought. To me, it’s the most consistent that I have heard of their material. A lot of great spacey prog rock appeal and abstract lyrics is what bought it for me. Though the recording sounds muddy at times. Fortunately it was recently remastered (with previously unreleased tracks). Best description in my mind is that they come across like Pink Floyd’s ultra-strange younger brother. The evidence of that theory is seen below in the inside sleeve photo of the band from the original LP.

This album has what is considered the greatest of the VDGG line-ups. It also shows one of the only weaknesses of the band: no true guitarist. The infamous Robert Fripp of King Crimson fame added some of his guitar wizardry to this album, but it is somewhat unnoticeable. It’s a real shame, but doesn’t make the album worse. Well, at least to me.

The biggest draw, in my mind and probably many others, is Peter Hammill. His musical vision is what leads the band, and his acrobatic vocals are amazing (though some find annoying). It is incredible all the different ways he sings, and it changes from line to line within a verse (though most VDGG songs don’t follow the traditional verse-chorus-verse-chorus structure). He comes across as a real actor with his voice, giving the songs so much more character.

“Lemmings”, though a bit longer then needed, has to be one of the best prog rock tunes from the days of it’s formation. The end gets a bit too much, but overall the song is still a great testament to what this often dissed genre could obtain. “Man-Erg” is a great display of dynamics in songs, and where you can best hear Mr. Fripp’s contributions. “A Plague of Lighthouse Keepers” too is a great song, though more a song suite. It keeps you guessing what’s coming next. At times even weirder then I am accustomed to, but there are still some brilliant sections.

After many listens, it is interesting to see just how much saxophone is on any VDGG album. Jackson’s work is snuck between a lot of other noises, and sometimes you realize that those noises he is sneaking between are made by him as well. Evans’ work, I believe, is underrated. He doesn’t do a whole lot of fancy fills, but is incredibly steady with some complicated rhythms. Banton’s true calling is the organ. From what I have heard (so may not be true) he modified one with other electronics, so at times you are not sure what is organ and what is Mellotron or Moog, or other electronics.

Not for the faint of heart. And that means prog rock fans, too. It took me listening to this a few times before it started sinking in.