This year marks the 40th anniversary of The Soft Boys’ debut record, A Can of Bees. If the record is unfamiliar to you, that’s understandable — they were a relatively short-lived band hailing from Cambridge, England, and their second LP, 1980’s Underwater Moonlight, is more popular anyway. You may be more familiar with their leader, renowned singer-songwriter Robyn Hitchcock.
While The Soft Boys’ legacy is something that music fans will continue to discover, Hitchcock, who turned 66 years old on March 3 and currently calls Nashville, Tennessee, home, has continued to carve out a sizable niche in the world of psychedelic rock as a solo artist and member of several other projects over the last four decades.
If you like this story, consider signing up for our email newsletters.
SHOW ME HOW
You have successfully signed up for your selected newsletter(s) - please keep an eye on your mailbox, we're movin' in!
Phoenix New Times: A Can of Bees is celebrating its 40th anniversary this year. What are your thoughts as you reflect on this record?
Robyn Hitchcock: A Can of Bees — what furious bees they were! I haven’t listened to that in its entirety for decades. I think the most successful pieces are “Do The Chisel” and “Leppo and The
Your 2017 self-titled record is also really fantastic. The rhythm section on the album, in particular, is really great. What do you look for in drummers and bass players? You’ve always had great ones, so I’m curious if there is a certain feel or sound that you look for, personality-types mixed with talent, or all of the above? Tell me a little bit about how you, Jon Estes, and Jon Radford came together?
Nashville is rich in musicians, maybe that’s why it’s called Music City. I’m glad you like the record, thank you. Brendan Benson offered to produce and engineer it, and he, among others, suggested Estes and Radford as the rhythm section. Like all great musicians they’re great listeners — beware of anyone who talks too much. The two Jons are great: Estes dry and laconic, Radford amused and enthused. His drum fills on “Mad Shelley’s Letter-Box” have been learned and played with amazement by other drummers who have backed me live around the world.
Tell us what you have in store for the crowd at the Musical Instrument Museum on April 2?
It’s 40 years later. The landscape has changed. There’s a huckster on the throne. Many people have shriveled up and died. Many more have been born and some of them, too,
I am now a troubadour in my mid-60s ... white-haired, with a Fylde acoustic guitar, drawing on a quiverful of songs that go back to 1979. I’m a cooling ingot of rage ... quiet and generally polite. My testosterone levels are low. Onstage I sometimes talk a lot, word solos. My songs are often sad ... my chatter is inane. Audience members will request songs via the internet, and I’ll play the ones that I can play solo, acoustic. These songs go back to The Soft Boys’ Underwater Moonlight but not to Can of Bees, I’m afraid. I am no more A Can of Bees these days than (Bob) Dylan is Blonde on Blonde. But here they are, from “Queen of Eyes” to my forthcoming single “Take Off Your Bandages” ... a whole lake of tunes. These songs are my memoir. This show is my life.