Robyn Hitchcock ‘n’ The Eqyptians: Queen Elvis (A&M Records) Album Review

Reviewed by Harry Kaplan

There is at least one exception to every rule, or so the saying goes. I am officially exercising my option on my own rule to only review albums within a year of release. So what am I doing reviewing an album that is 37 years old? I will tell you. It is so darn good and still holds up in today’s musical spider web. I heard this quite a bit in 1989 when it was released, but lost touch with it over the years. A few years ago, we reconnected and I gave it an earnest listen and was completely gobsmacked by how incredible it still sounded after all these years.

In 1989, the musical landscape was changing dramatically. Hair bands were on their way out, and so was European pop music, which had dominated the airwaves for a time. It was being replaced with bands that had a lot more aggression and edge. The sound of the late ’80s and early ’90s was evolving, pushing the boundaries of rock and creating space for raw, untamed energy. 1988 was such a banner year for rock music that many releases that came shortly after that were just lost in the shuffle. The cultural shift was palpable, and music fans could feel that something new was on the horizon. In the six months prior to the release of Queen Elvis, there was a wave of influential albums that set the stage for what was to come. There was Jane’s Addiction with “Nothing’s Shocking,” a record that pushed the envelope with its eclectic sounds and fusion of punk and metal. The Pixies released “Surfer Rosa,” a seminal album known for its loud-quiet dynamics and innovative songwriting. Sonic Youth’s “Teenage Riot” further exemplified the experimental nature of the time, while Fishbone’s “Truth And Soul” brought funk and punk into the mix, creating a unique blend of styles. And of course, Fugazi’s “7 Songs” showcased the post-hardcore ethos that was emerging.

The alternative music space was being dominated by noise and aggressive electric guitar, changing the way people thought about rock music and its possibilities. Amidst this upheaval and transformation, a beautifully crafted album like Queen Elvis with its unique identity was largely and regrettably forgotten. Revisiting it now, it’s easy to see why it made such an impression on me and countless others back in the day, and why it still resonates in a world full of constant musical evolution.

Queen Elvis contains ten songs that should make pop music proud and reestablish credibility to this much maligned genre. Each track showcases a unique blend of catchy melodies and thoughtful lyrics, proving that pop can be both entertaining and meaningful. Maybe the lack of attention focused on this release is what made it sound more fresh, having not gone through the process of oversaturation that ruined many musical acts during that era. In a musical landscape often dominated by formulaic hits, these songs stand out as a testament to creativity and artistic integrity. The album serves not only as a collection of songs but as a bold statement that champions the genre’s potential for innovation and depth.

I have no idea what Robyn’s intent was when he wrote these songs. Frankly, that’s the magic of well written and well crafted songs. They have a life of their own and the abstract nature of the writing allows the listener to interpret the songs in any manner they see fit.

Take the final cut on Queen Elvis, Superman:

Superman, superman, crunchy little superman
Found you in a corn flakes box nourished you in privacy
Touched the parts you couldn’t reach you improved immediately

he’s a squeaking head on a pleasure box and the boys don’t understand
It took the Holy Roman Empire just to get you by my side
And I’m gonna be more careful with you
Aren’t I?

It could be sexual in nature, but who really knows. What is certain is that the words mesh perfectly with the absolutely brilliant music behind them. Along with the luscious soundscape created is a large dollop of weirdness on top.

One another standout track for me in a collection of all winners is Knife. The song commences with a very infectious guitar riff that is quickly accompanied by a world-class bass riff that rivals all bass riffs, worldwide. As the track progresses, the interplay between the guitar and bass becomes increasingly dynamic. The seamless blending of these instruments not only underscores the song’s vibrant energy but also elevates it.

I’m thrilled to finally share this remarkable release with the public. As a self-proclaimed music aficionado and part-time expert, I wholeheartedly recommend this album to anyone who appreciates intelligent and quirky music. Robyn Hitchcock and the Egyptians present a mesmerizing fusion of surreal lyrics and inventive melodies that undeniably stand out in today’s crowded music scene. It has taken nearly 40 years for this album to achieve the recognition it truly deserves.

Listen to Queen Elvis here

This album is currently out of print