Robyn Hitchcock is one of England's most enduring contemporary singer/songwriters and live performers. Despite having been persistently branded as eccentric or quirky for much of his career, Hitchcock has continued to develop his whimsical repertoire, deepen his surreal catalog, and expand his devoted audience beyond the boundaries of cult stature. He is among alternative rock's father figures and is the closest thing the genre has to a Bob Dylan (not coincidentally his biggest inspiration).

Starting his career as a folkie in Cambridge, England, Hitchcock has been compared to such British folk-rock figures as Roy Harper and the Incredible String Band, specifically because of his acoustic guitar and loopy vocal style, though his rock voice bears shades of John Lennon and Syd Barrett. Switching gears early to front the Soft Boys, a punk-era band specializing in melodic, chiming jangle pop and clever lyrics (Underwater Moonlight remains a classic of the genre), it wasn't long before he quit the band and made his solo debut. Black Snake Diamond Role (1981) confirmed his reputation as an oddball thanks to his titles "Brenda's Iron Sledge" and "Acid Bird," among others. The psychedelia of Groovy Decay (1982) followed, as did the all-acoustic I Often Dream of Trains (1984). By 1985, Hitchcock's unpredictable songsmithing coalesced on Fegmania! Later that year, the live document Gotta Let This Hen Out! demonstrated his command of the stage. In 1988, he landed his first major U.S. label contract with A&M Records and followed the signing by releasing the ambitious Globe of Frogs (1988) and Queen Elvis (1989). He continued to record (Perspex Island, 1991; Respect, 1993) and receive college radio airplay, though once the momentum of the A&M years began to lag, Hitchcock bounced back in 1996 with the return-to-form Moss Elixir (Warner Bros.), which embraced his folk roots. Storefront Hitchcock, the soundtrack to the Jonathan Demme-directed concert film, followed in 1998.

Denise Sullivan
AllMusic.com