Van Der Graaf Generator – World Record

Starting already with the first vinyl issues of this album, there has always been confusion about the subtitle of track 4, the very long "Meurglys III" (sometimes even misspelled as "Meurglys 111"!) with its infamous "reggae" coda.
On this remastered, expanded issue that subtitle is once again incorrectly written as "(The Songwriters Guild)" on the back of the tray card and in the tracklist on page 2 of the booklet, while in the heading of the song's lyrics on page 10 we get "Meurglys III, The Songwriter's Guild" as its title. This way of writing it with a comma instead of brackets had already occurred as the heading to the lyrics on the back sleeve of "World Record" vinyl editions from 1976 onwards and in the booklet of the previous CD edition by Virgin/Charisma from the late 1980s (CASCD 1120).
The correct version of the subtitle would have to be "(The Songwriter's Guild)"; that's how it is to be found in Mark Powell's liner notes to this remaster at the top of page 12 of its booklet and how it was printed both on the back of the tray inlay and in the tracklist on the second page of the booklet for the afore-mentioned previous reissue on CD (CASCD 1120) - curiously enough, the CD label of the latter has the plural form of the genitive, i.e. "(The Songwriters' Guild)"!
In the singular genitive form the subtitle makes the most sense and can also be viewed as a play upon words: Guild as in guild of craftsmen (phonetically perhaps even an allusion to guilt?) and Guild as the brand name of Peter Hammil's = the songwriter's electric guitar, which he had christened "Meurglys III".
Its predecessor, "Meurglys II", had by the way been stolen in Rome at the beginning of a Van Der Graaf Generator concert tour through Italy (planned to last three weeks) in December 1975.

Is the 2005 CD issue the first occurrence where A Place To Survive has no fade-out?

Side1: a2 C11 4 side2: b1 C 12 1 If anyone has earlier matrix than this, or just like this one, in a nice condition for a sell, please write me.

this is a Netherlands issue more likely. (with uk cover...)

Ignore the detractors, this is a superb album, my favourite of theirs, rivaled only by Still Life and Godbluff. Highly recommended.

A lot better than most of VdGG commentators allow to be, this must always supposedly doff its cap humbly to the genius of their earlier works, and know its place. 'When She Comes' is a great upbeat rocker with a sniff of Mexican brass. Hammill wails and grates all over the LP, and by prog standards the playing is tight and unpretentious. Meurglys III reminds me of Floyd's 'Echoes', in that it has a strange groovy section, but in this case the song that started never returns.

My Copy has the Mercury Skyline lable but unlike the photos included her, the label has:

"SIDE A" above "STEREO" to the centre left and "SRM-1-1116" above [in smaller font] "SRM-1-1116-A" to the centre-right. There are also some other font differences.

World Record was a massive disappointment after the superb Godbluff and Still Life albums. Considered an embarrassing aberration/abomination by almost all UK VdGG fans at the time (the "word of mouth" on this album was atrocious. Bizarrely, however, it's been inexplicably "rehabilitated" by some present day VdGG fans), World Record sounds like the work of an exhausted, uninspired band at the end of its life, which is pretty much what it was. Most of what made VdGG great is conspicuously absent, and is replaced with what might best be termed a sort of "simplified VdGG" music. This means an album of mostly generic sounding, often plodding, and slightly clunky prog rock. Even the lyrics are nowhere near Hammill's usual standard and could have been written by any slightly-more-literate-than-average rock lyricist. Roger Waters, say.

Godbluff and Still Life gave us Hammill thoughts on consciousness, alter egos, death, the nature of memory. immortality etc., World Record gives us songs about someone pretending to be depressed (Masks) actually being depressed (A Place To Survive), and Hammill droning on about his bloody guitar (the dreary, laboured Meurglys III, complete with a risible extended cod-reggae jam). Only the opening When She Comes and the closing Wondering hint at anything resembling VdGG at its best. Well, they sound like songs not considered good enough for either of the two preceding albums, which, for When She Comes at least, was actually the case.

This line up of the band fell apart within weeks of World Record's release - which came as a surprise to no-one who had actually heard the thing - by which time Charisma had already dropped its doomed "VdGG Is For Everyone" campaign like a stone (presumably upon first sight of the album's initial sales figures). As tired and unimaginative as its awful title and even worse cover, World Record is best avoided by all but completists and is definitely not recommended for newcomers to the band's work. Start with either Godbluff, Still Life or Pawn Heats.

Their second studio release in a year, 1976's self-produced "World Records" has always been savaged by critics who saw it as a sell-out attempt by the band to court a more commercial sound and a bigger audience. While I can see why hardcore VDGG fans were put off by the album, reflecting my own lowbrow tastes, I'll readily it that I've always enjoyed the album. At least part of the reason I like this outing stems from the fact it isn't as intense and complex as earlier releases. Don't get me wrong, propelled by Hammill's challenging lyrics and full of the band's patented melodic and rhythmic twists and turns this was instantly recognizable as a VDGG product. On the other hand, 'When She Comes' and 'A Place To Survive' may have been two of the most straightforward rockers they ever recorded (both literally kicked butt). Elsewhere 'Meurglys III, The Songwriter's Guild' even saw the band incorporating reggae into a song ... reggae for gawd's sake !!! No wonder critics had a meltdown. Another big surprise - Hammill was a decent guitarist. Who knew. Nah, he wasn't about to put Beck, or Clapton out of a job, but for a band that had relied on Hugh Banton's keyboards, Guy Evans' drums, and horn player David Jackson it was a surprise to hear an occasional guitar solo (check out Hammill's work about half way through 'Masks'). Standout track was the closing ballad 'Wondring'. Easily one of the prettiest things Hammill ever composed. It wasn't all as impressive. Clocking in at over 20 minutes, the second side suite 'Meurglys III, The Songwriter's Guild' seemed even longer. Reportedly inspired by one of Hammill's guitars, the composition bounced all over the place without ever establishing much of an identity, though you got to hear some additional Hammill lead guitar (though it was almost drown out by Jackson's squawking sax)..

In the UK 'Wondering' b/w 'Meurglys III, The Songwriter's Guild' (Charisma catalog CB 297) was released as the single. In 'Masks (Parts 1 and 2)' was released (Charisma catalog number 6837 345).

The band toured extensively in of the album, 1976 saw them undertake their first US tour. Unfortunately the album marked the last release by the original foursome. Personality conflicts with Hammill saw keyboardist Banton leave, followed in short order by sax player Jackson. The two were quickly replaced by ex-String Driven Thing violinist Graeme Smith and bassist Nic Potter. The revamped line up also decided to streamline the name to Van der Graaf.

"World Record" track listing:(side 1)
1.) When She Comes (Peter Hammill) - 8:01
2.) A Place To Survive (Peter Hammill) - 10:00
3.) Masks (Peter Hammill) - 6:55

(side 2)
1.) Meurglys III, The Songwriter's Guild (Peter Hammill) - 20:50
2.) Wondering (Peter Hammill - Hugh Banton) - 6:34