With an extensive solo career spanning dozens of albums, Peter Hammill is certainly more than just the front-man and leader of Van Der Graaf Generator (VdGG). His literate, soul-examining lyrics and his often-anguished vocal delivery make his music perhaps an acquired taste, but his uncompromising artistic vision has shone since his first release, Fool's Mate, back in 1971.
Stylistically, he has forged his own path, touching on progressive rock, punk (before it was even called that), electronic experimentation, intimate singer-songwriter settings, and even opera/musical theatre (with his adaptation of Poe's The Fall of the House of Usher).
Hammill's solo career has coexisted with VdGG's activities. The band was offered a contract by Mercury Records in 1968, that only Hammill signed. When VdGG broke up in 1969 he wanted to record his first solo-album. In the summer of 1969 Hammill had a residency at The Lyceum and played weekly solo-concerts there. Eventually the intended solo-album was released under the VdGG-banner as their first album (The Aerosol Grey Machine). Hammill's first official solo-album was Fool's Mate (1971), containing songs from the early (1967/68) VdGG-days.
When VdGG broke up again in August 1972, Hammill resumed his solo-career. Songs that were intended for VdGG, now ended up on his solo-albums, notably "(In The) Black Room (Including 'The Tower')" (on Chameleon in the Shadow of the Night) and "A Louse Is Not A Home" (on The Silent Corner and the Empty Stage). This to some extent makes it difficult to separate Hammill's solo work during the 1970s from his work with the band (for the majority of both his solo-songs and the band's songs he is credited as the sole songwriter, and some of his solo albums feature all the members of Van der Graaf Generator). In general, however, solo Hammill is concerned with more personal matters, while the band's songs deal with broader themes.
Hammill's Nadir's Big Chance (1975} was a great change from the preceding album, In Camera. Whilst In Camera is characterized by extremely intense and complex songs and even has some musique concrete on it, Nadir's Big Chance is notable for its anticipation of punk rock. In a 1977 radio interview, John Lydon of the Sex Pistols played two tracks from the album and expressed his admiration for Hammill in glowing terms: "Peter Hammill's great. A true original. I've just liked him for years. If you listen to him, his solo albums, I'm damn sure David Bowie copied a lot out of that geezer. The credit he deserves, just has not been given to him. I love all his stuff"
Over (1977) contains very personal songs about the break-up of a long-term relationship.
Hammill's first solo-album after the 1978 break-up of Van der Graaf was The Future Now. With the next albums, pH7 and A Black Box, the sound got more compact, more new wave. On those albums, Hammill played the drums himself. What followed was 'the K-group'. In later years Hammill would sometimes refer to the band as a "beat group". The K-group consisted of Hammill himself on guitars and piano, with John Ellis on lead guitar, Nic Potter on bass, and Guy Evans on drums and percussion. They recorded the albums Enter K and Patience.
Hammill's early records, like the VdGG albums, were released on Charisma Records. He parted company with them after pH7 (1979), and then released albums on a number of small labels. A Black Box came out on S-Type, a label run by Hammill and his manager Gail Colson. Enter K and Patience appeared on Naive, Skin and Margin on Foundry and In A Foreign Town, Out of Water and Room Temperature: Live on Enigma Records. In 1992 he formed his own label, Fie!, on which all his albums since Fireships have been released. The label's logo is the Greek letter phi (Φ), a pun on PH-I. Ever since the 1970s he has also had his own home recording studio, appropriately called Sofa Sound (his website was later named after the studio).
Musically, Hammill's work ranges from short simple riff-based songs to highly complex lengthy pieces. Mainly because of his refusal to make anything resembling middle-of-the-road music, and the general absence of any smooth or glamorous sounds in his music, there is much debate amongst his admirers whether Hammill is to be considered a part of the so-called progressive rock scene. In many interviews however Hammill himself has stated that he does not want to be put in the progressive rock music label, or any music label at all.
His output is prolific. Many different styles of music appear in his work, among them artful complexity (for instance Chameleon in the Shadow of the Night), avant-garde electronic experiments (Loops & Reels), opera (The Fall of the House of Usher), solo keyboard accompaniment (And Close As This), solo guitar accompaniment (Clutch), improvisation (Spur of the Moment), film music (Sonix), band recordings (Enter K), and slow, melancholic balladry (None of the Above).
Hammill survived a heart attack in December 2003, less than 48 hours after having finished the recording of Incoherence. In 2005, Hammill announced the reformation of Van der Graaf Generator. In 2004 they had recorded a new album, Present, which was released in April 2005, and from May until November 2005 played a series of well received concerts.
Between 2005 and 2007 Hammill has overseen the remastering of almost all of his pre-Fie! releases, and has also started similar work on his more recent catalogue. The last of the Charisma remasters was released in September 2007.
Hammill's solo-career did not end because of the VdGG-reunion. He released his new album Singularity in December 2006. It was the first solo-album he completed after his heart attack, and for a large part it deals with matters of life and (sudden) death.
In 2007 several gigs by Van der Graaf Generator as a trio (minus David Jackson) have taken place in Britain and the rest of Europe, and their new album Trisector was released in March 2008. Hammill's new solo album, Thin Air came out 8th June 2009. Hammill and the band are touring extensively in USA, Japan and Europe these days.
On the Surface
Peter Hammill Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
phosphorus gleaming;
deep down we carry on dreaming.
On the surface
compass and charts checked;
deep down the currents run
in a shining vortex,
On the surface
oil troubled water
sails set the seas on fire
to the farthest quarter...
Are we dreaming?
Dream deep of childhood,
dream deep of future days –
it'll all come good,
deep dreaming.
On the surface
head above water
legs kick the carry-on...
(dreaming) break the surface;
dreaming of long-lost childhood,
hoping for better days –
it'll all come good,
deep dreaming.
It'll all come good,
deep dreaming.
It'll all come to the surface,
it'll all rise to the surface,
deep dreaming.
The lyrics of "On the Surface" by Peter Hammill express the idea of having two different perceptions of reality – one on the surface and one deep down. On the surface, everything may look perfect and ideal, but deep down, there is still doubt and uncertainty. The opening lines "phosphorus gleaming; deep down we carry on dreaming" suggests that the surface is full of bright and flashy lights, but underneath, people still continue to dream about their true desires and wishes.
The second verse uses the metaphor of sailing on oil-turbulent waters to represent the challenges of life. To overcome these challenges, one needs compasses and charts to navigate through them, but deep down, the currents run in a shining vortex which can be both mesmerizing and terrifying. The chorus brings forth the idea of deep dreaming – of holding on to the hope for a better future, of dreaming of the innocence and wonder of childhood, and of letting go of all worldly worries and fear.
The final verse brings in a more personal note, with the mention of breaking the surface and keeping your head above water while your legs kick the carry-on, indicating that even while things seem to be going well, one still experiences some struggles underneath. The song ends on a positive note, with the repeated phrase "It'll all come good, deep dreaming," suggesting that if one keeps holding onto their dreams, their desires will eventually come true.
Line by Line Meaning
On the surface
Despite the superficial appearance of things
phosphorus gleaming;
Shiny and bright, but not necessarily truthful
deep down we carry on dreaming.
Despite the reality of the situation, we continue to hold onto our hopes and aspirations
compass and charts checked;
Despite our sense of direction and planning
deep down the currents run
in a shining vortex,
in a swirling vortex.
Beneath the surface, chaos and confusion reign
oil troubled water
A metaphor for the troubled times we live in
sails set the seas on fire
to the farthest quarter...
Our actions have far-reaching consequences
Are we dreaming?
Questioning the reality of our situation
Dream deep of childhood,
dream deep of future days –
it'll all come good,
deep dreaming.
We should hold onto our dreams and aspirations, as they may yet come true
On the surface
head above water
legs kick the carry-on...
(dreaming) break the surface;
Despite appearing to be in control, we are struggling to stay afloat
dreaming of long-lost childhood,
hoping for better days –
it'll all come good,
deep dreaming.
We must maintain hope for a better future
It'll all come good,
deep dreaming.
Our dreams may yet become a reality
It'll all come to the surface,
it'll all rise to the surface,
deep dreaming.
Eventually, the truth will be revealed
Contributed by Gabriella S. Suggest a correction in the comments below.
Pete Butler
Peter hammil in an unsung genius of our time, I found him in my teens in van dear Graf, changed my view on music forever.
He wrote the saddest couplet I ever heard....."the stars shine, but they're not for me"
Daves sax is haunting
Мария
О! Я была на этом концерте, это было великолепно!!
iglik1
The man could write 1000 hits for the billboard and make millions like other "Rock'n'Roll" singers we all know, but inssists on his own Art and Truth.
Nothing but respect and admiration dear PH.
Shaagar Snekkerson
I agree totally with you
Eleuterio Ramalho
Is not a choice, is identity, is what he are
Maxine McKenzie
This is DOUBLE~PLUS~GOOD! it reminds me of when I met Peter, Stuart Gordon, and Nic Potter a year or two before this, backstage at the Clapham Grand in London. Hooligan and Mozart were really nice Blokes, I had to persuade them to Autograph Peter's Book "Killers, Angels, Refugees" by saying I'd tell Peter I made them sign it! ( Nobody expects the Spanish Inquisition!) I did square it with him without any problem, and Mr Hammill added his Signature beside the other two. It's a bittersweet tale, as Stuart and Nic are sadly no longer here with us. I still Treasure the Book. R.I.P MOZART and HOOLIGAN.
Peter Grossett
David Jackson is a great too. That makes two greats at.least.In Van Der Graaf. How DJ interpets PH's lyrics and vocals through his sax is untoppable. The rest of VDGG are great too.
Multi-purpose Biped
My theory is there's some device in Jax's hat piloting the sax.
Great stuff, although for Generator fans rather than pure Hammil fans, it's a bit like Floyd without Rick Wright.
Oolong Oolong
What a very strong line-up this was, and what a great performance. Many thanks for uploading this wonderful gig.
Peter Grossett
Oolong Oolong Lovely comment short and sweet and to the point.