Lately, I’ve been re-listening to a lot of the Peter Hammill catalogue that I have, and the reason for this is two-fold. Firstly, the idea of being ‘really into’ a particular singer-songwriter with such a large body of work appeals to me greatly (as of 2014, Hammill has 35 solo albums to his name, and shows no signs of slowing down) – there’s quite a huge world to get lost in there, and enough to cover every mood and whim once I get a basic familiarity with it. The other reason, is that, quite, simply, I want more of the band that Hammill famously fronts, Van der Graaf Generator.
Van der Graaf has been my (co-)favourite band since I first heard them five or six years ago, and I have, quite simply, pretty much worn myself out on a large majority of their work. There is lots of stuff there for me to revisit whenever I feel the urge, but I’ve listened to it all many, many times. The particular albums I’ve been giving attention – Chameleon in the Shadow of the Night, The Silent Corner & The Empty Stage and In Camera – all stem from the 1972-1974 period where Van der Graaf was on hiatus, and so features a lot of actual collaboration with David Jackson (sax), Hugh Banton (organ) and Guy Evans (drums), each including one lengthy VDGG-style harrowing final track. Three new ten-minute tracks is a lot to gnaw on in terms of the band, so that itch has more or less been scratched. I do find myself, however, stricken by the same problem I had when entering Peter Gabriel’s solo oeuvre.
The Peter Gabriel era of Genesis is what got me into progressive rock in the first place, and I very much had the same pattern. I listened to the albums they put out during that time incessantly, but the point eventually came where I needed to find something else. Considering my main anchor for that stretch of albums was Gabriel’s voice, I decided the next place to turn was his solo stuff. If he’s the same guy, and he’s following on from this kind of pedigree, it must be similar, right? Wrong. Gabriel’s first album is a tour of styles, including the jangly “Solsbury Hill” and very much has Gabriel trying to write much more melodic and varied stuff, which baffled this dude hoping that the supply of ten-minute organ based epics was not ever going to run out.
Up and down the discography I went, always hitting the same block with “but this isn’t Genesis” rattling in my head. I would listen to it occasionally, but never quite got the same pleasure out of it that I would hope for. It wasn’t until coming back much later, having shaken the pure-prog yoke that I could approach this stuff with a new perspective and appreciation for what he was doing, rather than what he wasn’t. Even with that being said, I find Gabriel’s stuff takes a few listens to get into, but knowing that going in, it’s easier to reap the rich rewards for doing so (especially on the superb Us).
How then, do I get used to Hammill’s solo acoustic guitar songs, when he’s tearing the house down in a mad organ-drenched frenzy two songs later? It’s not that that composed a majority of his work either – he seems to relish the chance to use most instrumentals at his disposal with equal fervour – it’s just that hearing Hammill with only acoustic guitar as accompaniment still sounds oddly jarring to me, like it’s weirdly displaced after getting to know him as the eye of the storm of VDGG. I want to reach a place where I am not just trying to suck the Van der Graaf out of it, and am actually appreciating it for what it is, but that may take some time or just some listens. Such is the quandry of the solo artist post- or outside of the band they are more famous for. It’s a shadow that looms across the solo career of many (not necessarily for the negative, but often pigeonholing), but the jump fans make from band to artist can just as easily open their ears up given the one thing they are familiar with in a new context. Either way, it’s going to be a helluva ride. Despite some of the strangeness or strange-in-its-normality tunes that Hammill provides on his albums, I have yet to find one that’s been boring.