Vocal Jazz / Jazz Related Rock / Pop/Art Song/Folk / Jazz Related Soundtracks / Avant-Garde Jazz • United Kingdom
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In the early 1960's a number of artists began to emerge in what has become termed 'The Canterbury Scene', despite the fact that they were born in far-flung fields from Canterbury and mostly performed or recorded in London, England. Robert Wyatt is one of these seminal musicians.

Born: Robert Wyatt, January 28, 1945 in Bristol, England to Honor Wyatt a teacher and BBC journalist. Wyatt became Robert Ellidge [or Robert Wyatt Ellidge] and moved with his mother and father, George Ellidge an industrial psychologist, to West Dulwich, England in 1950. The family included three other children from previous relationships: George's son Mark Ellidge [later a renowned photographer and a pianist on Wyatt recordings] and Honor's daughter Prudence and son Julian Glover [later to become a renowned actor]. When George was diagnosed with MS the family moved from South London to Wellington House, a large Georgian home near Canterbury in Lydden, Kent.
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ROBERT WYATT Discography

ROBERT WYATT albums / top albums

ROBERT WYATT The End of an Ear album cover 3.50 | 8 ratings
The End of an Ear
Avant-Garde Jazz 1970
ROBERT WYATT Rock Bottom album cover 4.42 | 28 ratings
Rock Bottom
Pop/Art Song/Folk 1974
ROBERT WYATT Ruth Is Stranger Than Richard album cover 3.51 | 9 ratings
Ruth Is Stranger Than Richard
Vocal Jazz 1975
ROBERT WYATT The Animals Film (OST) album cover 4.00 | 1 ratings
The Animals Film (OST)
Jazz Related Soundtracks 1982
ROBERT WYATT 1982-1984 album cover 4.00 | 2 ratings
Vocal Jazz 1984
ROBERT WYATT Old Rottenhat album cover 4.03 | 6 ratings
Old Rottenhat
Pop/Art Song/Folk 1985
ROBERT WYATT Dondestan album cover 3.29 | 5 ratings
Pop/Art Song/Folk 1991
ROBERT WYATT Millennium - A Civilised Word (with Jo Bogaert & Blissphemy) album cover 2.00 | 1 ratings
Millennium - A Civilised Word (with Jo Bogaert & Blissphemy)
Vocal Jazz 1995
ROBERT WYATT Shleep album cover 4.16 | 10 ratings
Vocal Jazz 1997
ROBERT WYATT Robert Wyatt, Jean-Michel Marchetti ‎: MW3 album cover 0.00 | 0 ratings
Robert Wyatt, Jean-Michel Marchetti ‎: MW3
Vocal Jazz 2000
ROBERT WYATT Cuckooland album cover 3.71 | 8 ratings
Jazz Related Rock 2003
ROBERT WYATT Solar Flares Burn for You album cover 3.83 | 3 ratings
Solar Flares Burn for You
Vocal Jazz 2003
ROBERT WYATT Comicopera album cover 3.44 | 8 ratings
Vocal Jazz 2007
ROBERT WYATT ´..........For The Ghosts Within´ (with Gilad Atzmon & Ros Stephen) album cover 3.27 | 4 ratings
´..........For The Ghosts Within´ (with Gilad Atzmon & Ros Stephen)
Vocal Jazz 2010
ROBERT WYATT ’68 album cover 0.00 | 0 ratings
Jazz Related Rock 2013


ROBERT WYATT 4 Track EP album cover 3.50 | 1 ratings
4 Track EP
Jazz Related Rock 1984
ROBERT WYATT Peel Sessions album cover 3.02 | 2 ratings
Peel Sessions
Vocal Jazz 1987
ROBERT WYATT A Short Break album cover 2.50 | 1 ratings
A Short Break
Vocal Jazz 1992
ROBERT WYATT EPs album cover 4.00 | 2 ratings
Vocal Jazz 1999

ROBERT WYATT live albums

ROBERT WYATT Theatre Royal Drury Lane album cover 3.56 | 7 ratings
Theatre Royal Drury Lane
Jazz Related Rock 2005
ROBERT WYATT Radio Experiment, Rome February 1981 album cover 0.00 | 0 ratings
Radio Experiment, Rome February 1981
Vocal Jazz 2009

ROBERT WYATT demos, promos, fans club and other releases (no bootlegs)

ROBERT WYATT re-issues & compilations

ROBERT WYATT Nothing Can Stop Us album cover 2.15 | 4 ratings
Nothing Can Stop Us
Vocal Jazz 1981
ROBERT WYATT Robert Wyatt album cover 4.00 | 1 ratings
Robert Wyatt
Vocal Jazz 1981
ROBERT WYATT Late '70's - Early '80's album cover 0.00 | 0 ratings
Late '70's - Early '80's
Vocal Jazz 1985
ROBERT WYATT Compilation album cover 0.00 | 0 ratings
Vocal Jazz 1990
ROBERT WYATT Mid-Eighties album cover 0.00 | 0 ratings
Vocal Jazz 1993
ROBERT WYATT Going Back a Bit: A Little History of Robert Wyatt album cover 0.00 | 0 ratings
Going Back a Bit: A Little History of Robert Wyatt
Vocal Jazz 1994
ROBERT WYATT Flotsam Jetsam album cover 3.00 | 1 ratings
Flotsam Jetsam
Vocal Jazz 1994
ROBERT WYATT His Greatest Misses album cover 3.00 | 1 ratings
His Greatest Misses
Vocal Jazz 2004
ROBERT WYATT Different Every Time album cover 0.00 | 0 ratings
Different Every Time
Vocal Jazz 2014

ROBERT WYATT singles (1)

.. Album Cover
2.50 | 2 ratings
Shipbuilding / Memories of You
Vocal Jazz 1982

ROBERT WYATT movies (DVD, Blu-Ray or VHS)



Album · 1997 · Vocal Jazz
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Wyatt spent about a decade tinkering away with compilations and EPs before bringing out his sole studio album of the 1990s, the sunny and benign Shleep. It opens with a jaunty tune about Wyatt's imagination running away from itself, which is a rather good summation of the album; with the aid of legendary guests such as Brian Eno and Paul Weller, Wyatt (and, for most of the tracks, his songwriting partner and wife Alfreda Benge) produces a range of tunes ranging from whimsical pop to free jazz/ambient fusion nursery rhymes and everything in between. In other words, it's a mature and relaxed revisit of most of the different musical territories he has visited in his long career, and it's hard not to be won over by it.

ROBERT WYATT ´..........For The Ghosts Within´ (with Gilad Atzmon & Ros Stephen)

Album · 2010 · Vocal Jazz
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I was never a Robert Wyatt fan and wasn't 'exposed' too much ( I actually tried a couple of his albums and dropped them) to his music, which in this case may be an advantage because I had no big expectations of this album. `I'm not a jazz musician,' said Robert Wyatt once, `but it's the fountain from which I drink, so I piss some of it out in my records.' Well, I can say he p....ed quite a lot of it in this album in which he collaborates with saxophonist Gilad Atzmon, violinist Ros Stephen, and Stephen's Sigamos String Quartet. Atzmon has previously played on Wyatt's albums and collaborated with Stephen on Gilad With Strings, a project honouring Charlie Parker's dalliance with classical orchestration. The 11 tracks include seven jazz standards(Laura, In a Sentimental Mood,What a Wonderful World), two originals(The Ghosts Within being the best IMHO) and two jazzy reworkings of Wyatt originals(Maryan, At last I am free). Wyatt sings on 9 tracks and whistles on one, Atzmon brings the Middle-Eastern flavours on most of the tracks on one or more of soprano and alto sax, clarinet, bass clarinet and accordion. The music is dreamy, restrained, reflective, lush, spiced in the right places with Atzmon's Middle Eastern accents. Wyatt's version of "What a Wonderful World" is a very nice surprise too. The approach is unconventional, but the result is beautiful chamber jazz. An album for the late hours of the day.

ROBERT WYATT Theatre Royal Drury Lane

Live album · 2005 · Jazz Related Rock
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Robert Wyatt has only rarely given live performances since the launch of his solo career, so Theatre Royal Drury Lane is one of the few live albums we're ever likely to see from him. It is a shame, therefore, that I can't recommend it as heartily as I would like to. Wyatt is clearly in high spirits during the recording, opening the gig with a shambolic (and I suspect deliberately shoddy) runthrough of Dedicated To You But You Weren't Listening before getting to the meat of the matter. Naturally, material from Rock Bottom is present in spades, and whilst Wyatt and his backing musicians make a decent go of rearranging those strange studio nuggets into something resembling a tune a conventional band lineup could play, the process means that some of them lose their magic (though the version of Little Red Riding Hood Hit the Road here is decent).

The main problem with the album is the sound quality, which is really rather poor even for the era - and the mix isn't great either, so the joyous cover version of I'm a Believer that ends the album is rather murky and Ivor Cutler's poetry readings are almost completely swamped - a crying shame. I'd say this definitely fits the criteria of "collectors/fans only", since I can't really recommend the album to anyone who wasn't already a huge Wyatt fan; anyone else is better experiencing the music here in the studio album renditions.


Album · 1974 · Pop/Art Song/Folk
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Recorded in the wake of Wyatt's life-changing accident which left him without the use of his legs and therefore unable to drum as he previously used to, Rock Bottom is the most beautiful and haunting album Wyatt ever made, and one of the best to come out of the Canterbury scene. Haunting submarine soundscapes construct an album packed with love (especially when the subject of Alfreda Benge, Wyatt's partner who he married on the day of the album's release comes up), anger, frustration and hope. Love songs are ten a penny in rock music, but it takes a rare sort of confidence to invite the object of said song on to cap off the performance by fondly rebuking your hyperbole; this is precisely what Wyatt does. The closing performance by Ivor Cutler is the eccentric capstone on a very strange structure indeed, and one which has yet to cease yielding its secrets and treasures.

ROBERT WYATT The End of an Ear

Album · 1970 · Avant-Garde Jazz
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Robert Wyatt's End of an Ear isn't a serious attempt to kick off a solo career - Rock Bottom would play that role four years later - so much as it represents Wyatt letting off a bit of steam. The Soft Machine had just recorded Third, an album on which Wyatt's drumming naturally played an essential role but on which his vocals were limited to one song - his own Moon In June, a composition the rest of the band were so disinterested in he had to perform most of it himself. This was all part of a general tendency in the Machine to veer away from the inclusion of vocals after the release of Volume Two (in which Wyatt's singing played a major role), which would culminate in their fourth album being released without any singing from Wyatt being included whatsoever.

The fact that Wyatt lists "Mouth" under his portfolio of musical instruments on the liner notes is a hint as to the point of this album - to give him a chance to express his unique style of scat singing and his use of his voice as his most delicate and diverse musical instrument in a way which he simply was no longer allowed to do in the Soft Machine. It's a stinging rebuke to Messrs. Ratledge and Hopper, who had been driving the Machine in a firmly instrumental direction at this point, as far as free jazz goes there's a delicate, shimmering beauty to the album which when it comes through clearly is quite delightful. The album doesn't soar to heights of supreme excellence, but it is a skilled reminder of just what the human voice can achieve, and in that sense more than exonerates itself as a showcase for Wyatt's vocal talents. Personally, I think the Soft Machine's decision to sideline Wyatt's singing was absolutely shameful, a waste of a wonderful talent. Fortunately, on Matching Mole's albums and in his solo career, Wyatt would not be silenced.

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