Product Details

• Amazon Sales Rank: #106147 in Digital Music Album
• Published on: 2006-03-07
• Released on: 2006-03-07
• Running time: 0 seconds

Customer Reviews

Against the grain: Most enduring VDGG album
The consensus among Hamillites appears to be that "World Record" is not as strong as previous albums, with some considering "Pawn Hearts" their pinnacle. For readers interested in VDGG and planning their purchases: Don't be fooled. While all VDGG albums are worthwhile for the initiated, "World Record" offers something others don't have. I am referring to its somewhat detached and loose feel that, in the end, makes the album an enjoyable listening experience for multiple occasions. The lyrics are also especially strong, containing memorable lines throughout the album. They don't have the "self-indulgentness" of other albums, while retaining the personal and intimate traits Hammill is known for.

Hammill and VDGG typically come up with great song intros. The intro of "Undercover Man" from the "Godbluff" comes to mind immediately. Its quiet atmosphere sets the tone right from the start. The intro of "When She Comes" (first notes of WR) holds it's own quite well, however, and the song doesn't let up for one moment. "A Place to Survive" and "Masks" complete the trilogy, the first with the affecting line "Stand straight, looking over your shoulder." These are among the best songs VDGG has recorded. Most fans do not appreciate the loose jam-like feel of "Meurglys III". They're comparing it to the epic "A Plague of Lighthouse Keepers" from "Pawn Hearts." However, "Meurglys III" expresses feelings from a songwriter who had moved on at the time of recording and was ready to do something new. Looking back, and this holds for "Word Record" as a whole, the music sounds less dated. I find Hammill's guitar playing on "MIII" interesting and relaxing and agree with another review that the reggea beat towards the end is appropriate and enjoyable. There isn't really anything like it in the VDGG canon.

There is nothing to take away from the enjoyment from other VDGG albums, but don't step on "World Record", which happens to be my introdction to VDGG. Now, after a two-plus decade hiatus of not listening to them, I find the music and songs still stirring, making "World Record" once again my favorite VDGG/Hammill album [followed closely by "Godbluff"].

Not so VDGG....but I like it
This is the only Vandergraafgenerator record I've ever owned. OK, I had some Peter Hammill stuff, and some other records on tape. But World Record was my first VDGG-experience.

I understand, that it is not VDGG at their best, because it was a bit too much VDGG-light, and then it occurred to me...I guess I don't like VDGG, but hey, I like this album, including the reggae-like ending of Meurglys.
Actually, thirty years ago I have used it as background music for a slide show.

So, if you like Peter Hammill or VDGG, but not the very avantgarde, complex stuff....you could try this one.

Last album from the classic lineup
This 1976 follow-up to the excellent Still Life (also 1976) has its moments, although it is clear that the steam had run out. In fact, both Hugh Banton and David Jackson left after this album, with Hugh dedicating his efforts to a career in electronics. Following World Record, the group shortened the name to Van der Graaf and released their last studio album The Quiet Zone (1977), which has been cited as anticipating New Wave, and the live album Vital: Van der Graaf Live (1978) before packing it in shortly thereafter. While World Record is not necessarily my favorite album from the group, it still has some appeal.

The lineup on World Record is considered the classic lineup and featured virtuoso drummer Guy Evans (drum kit and percussion); Hugh Banton (Hammond organ; synthesizers; acoustic piano; bass pedals; and bass guitar); Peter Hammill (vocals; electric guitar; and piano); and David Jackson (alto, tenor, and soprano saxophones (acoustic and electric); and flute). Peter's electric guitar is mixed much further up in the mix than that on Still Life and it is clear that he was finally comfortable enough with the instrument to have it be heard. The rest of the band turns in some good performances (especially Guy), although the energy levels seem a little low.

The five tracks on the album range in length from 6:36 to the massive 20:52 Meurglys III (The Songwriters Guild) suite. In general, the trademark sound of the band is still in place, although the sharp edges had been smoothed back even further than on albums Godbluff (1975) and Still Life and the "zing" had seemed to go out of the performances. In addition to low energy levels, there also seems to be a bit of a "thrown-together" feel to the album. On the flip side of the coin, Masks is a fine piece that features some nice melodies and great Hammond organ from Hugh. This track also features some "power" chords from Peter than lends a somewhat menacing feel to the piece. Although I was excited to see a massive suite on the album, Meurglys III is in no way "Plague of Lighthouse Keepers Pt. II". While there are (admittedly) some Pawn Hearts era-ish sounding moments in the superb first 13 minutes of the piece, there is a much weaker reggae-inflected section over which Peter noodles on a distorted electric guitar. The piece simply fades out on this quasi-reggae jam session and it really is too bad too because this could have been a decent piece with a bit of editing. Hands down, my favorite track on the album is the exceptionally strong closing track Wondering. This is a softer piece written in the tradition of Refugees (The Least we can do is Wave to Each Other, 1970) and House with No Door (H to He: He who am the Only One, 1970) that features some nice textures and warm tone colors of a synthesizer, which in of itself is a departure for the group. I especially appreciate the majestic feel of the piece and the stately cadence: in fact, I am reminded somewhat of the English hymn Jerusalem.

The remastering of this album by Virgin is simply excellent. The CD booklet features lyrics, informative notes and photos of the band (color; black and white). The sound quality is also vastly improved and every instrument can be heard with crystal clarity. The bonus tracks include versions of When she Comes and Masks that were recorded for the John Peel Show (BBC Radio One) on November 11, 1976. The sound quality of the tracks is decent, although they do not sound much different than the original recordings.

All in all, while World Record may not necessarily be the best place to start exploring this highly significant English progressive rock band, it is certainly not completely awful and is worth adding to the prog collection. Albums by the band that are highly recommended include H to He Who am the Only One (1970); the highly acclaimed and fan favorite Pawn Hearts (1971); and Still Life (1976).