Oar

"What if every single folk album from the 60s except maybe slightly more dull?" It seems like Skip was just noodling around, thinking about maybe writing a few songs, and someone accidentally recorded it. AND YET SOMEHOW THERE'S LIKE 90 MINUTES OF ALBUM HERE. I forgot every song literally 2 seconds after it ended.

Well, this is an interesting one, and I'm trying to figure out the context and time that it's from. I've not heard of this album or this person before. I'm hearing Leonard Cohen, Richard Hawley, Sufjan Stevens and the Flaming Lips. Some neat guitar work and psychedelic elements. I started reading about the history of this album. This was made in 1969, and it feels like a blueprint for a lot of the music I've enjoyed over the years. I started playing this album as I got on I-95 this morning and it didn't register for me until "Weighted Down (The Prison Song). The album is getting scratchy and his voice feels like it's struggling. It's an album that documents a time where the musician is going through some serious psychological trauma. And forgive me, but I'm really enjoying this beautiful breakdown.

A talentless retarded hobo.

jesus, how fuckin' gone was this guy? (i looked him up after i wrote that...pretty fuckin' gone, i guess.) this was a rhythmically interesting album, which at times bordered on rhythmically challenging. and melodically challenging. but it ultimately won me over simply because it seemed so genuine, and not just the stoned ramblings of some egotist.

And here I was complaining about Taylor Swift's inclusion on this list. As much as the 1001 albums book is lost when it comes to *recent* masterpieces, its writers know their stuff about the past, at least when it comes the rock genre. Alexander "Skip" Pence's *Oar* is indeed a hidden treasure--a bold, raw, often visionary statement from an artist on the brink of madness. Moby Grape being a rock band I find horribly bland and unoriginal compared to its more famous peers from the sixties, I would never have thought of checking out this solo effort from one of their most deranged members without this 1001 album project. And because of haunting songs such as "Little Hands", "Diana" and "Book Of Moses", I'm so glad I did now. Some of Spence's cuts here even pave the way towards the future, from the proto-krautrock-tinged "Gray/Afro" to the pre-Radiohead-like "War In Peace" and its awe-inducing chord changes and guitar flourishes. Interspersed between those highlights are a number of songs going from the eccentric to the downright sinister, with a voice that's unpredictable from one track to the next. The whole is thus an uncompromising picture of the psychological hardships this American Syd Barrett went through. His life story is a very sad one, but at least we can rejoice he was able to leave this recording, a very unique one, in all senses of the word. Madness being a part of the human experience, all of this makes *Oar* a compelling album, both musically and artistically. So I'm happy I can now place this one next to other misunderstood folk misfits or psychedelic oucasts such as Barrett, Nick Drake, Mark Fry, and The Incredible String Band. Thanks, Dimery and co. Number of albums left to review or just listen to: 863 Number of albums from the list I find relevant enough to be mandatory listens: 75 (including this one) Albums from the list I *might* include in mine later on: 34 Albums from the list I will certainly *not* include in mine (many others are more important): 29

If a woman made an album like this, it would never make it on here.

This starts a nicely melodic psychedelic folk country album with lots of creative songs. Then at about Afro/Grey is steers toward a much more random sequence of "songs". Takes a bit hit at the midway point.

psychadelic folk but he should've quit after about three songs. no wonder he disappeared this shit mostly sucked

Sounded like a mumbling pub singer

I see they don't call him 'skip' for nothing.

"hey what if we put only the drums in the right channel and everything else in the left"

Real weird. That's not necessarily a bad thing and I thought I might like it after the first song but it quickly devolved into indecipherability after that.

I never heard of this brother and the album is disjointed and hard to listen to. His story of mental health and addiction problems is sad for sure and is similar to Syd Barrett's story. Syd, however, founded one of the most significant bands ever and his mental health challenges forced Roger Waters to learn how to be the principal songwriter. So Syd's story is relevant to music lovers and makes his first solo album appropriate for inclusion in the 1001 list even if you don't like it. Skip Spence, on the other hand, was not part of one of the best bands. He was recruited to the pre-Grace Slick version of Jefferson Airplane since the band thought they should have a drummer who looked like he did. He left the band before the album was released. To make a long story short, I didn't need to hear Skip’s depressing story. We have our own problems to worry about.

Why do I like this album? Muddy vocals, muddy instruments. It's the ultimate late night, stupendously drunk, sad but containing sardonic humour, epic. I hear Jeff Buckley, then I hear Tom Waits! This is the poster child for pain producing great art. This is the reward for sponsoring 1001 albums. I'd never heard anything about this man before.

Fragile, tender, warm, haunted, fragmented in parts, with a very odd soundstage - drums (where they appear) way over one side - a singular album, an enriching and challenging listen

Had never heard of Skip and doing a bit of pre-reading I was ready to dismiss this out of hand. It's a surprising one, there's a variety of stuff on here and it never felt samey. War in Peace sounds like something Radiohead would produce and there's a range in his voice which adds to the appeal. Seems like Skip had a difficult life and you can feel it in some of these songs. It's not in any way polished but maybe that's part of the appeal. Overall, I enjoyed this.

Fell in love with this lovely bit of wierdness pretty quickly...messy, incoherent, mumbling foolishness at its best...

This is the kind of album I wanna find in doing this thing — never heard of it and never would have known it existed. And instead now I have and it was awesome

Amazing parallels between this and Syd Barrett's "The Madcap Laughs:" the black sheep of big bands go a bit crazy and record their own stuff, then just fall off the radar. I liked this more than the Barrett album, though, very chill, but occasionally electrifying. What a great way to start 2025.

Wow! I loved this album! Spence, a founding member of Jefferson Airplane and Moby Grape, recorded Oar just six months after being released from a psychiatric hospital, so he wasn’t in the best state of mind while writing this music. Not only that, but he had a small budget to work with, which definitely comes through when you listen. The vocals are raw, unfiltered, and often lack clarity, at times sounding more like a murmur. The production has a very stripped-down, lo-fi quality, making the album sound like a demo. Despite all these challenges, everything comes together beautifully. The rawness adds to the intimate and ethereal feel of the album, making it even more captivating.

wow, that was something very special too good to rate, it exists on a tier of its own

In sharp contrast to some recent selections, I really did HAVE to hear this. It's very dark, and both experimental and beautiful. I'd not heard of 'Skip' before and this record still seems like a niche concern, but it's very good, you can hear how it might have influenced contemporary alternative acts and there are moments reminiscent of Johnny Cash. Best song, All Come To Meet Her.

From the beginning, this is a biased perspective. I read Gibson's essay on Spence's pants while I listened to the front twelve, and I have a weakness for Gibson. Also read Spence's biography, of course, but the album ended up being far less devastating than I expected. That's a good sign for music, generally. Wasn't sure how much to like it, then found my attention being pulled to a huge number of songs compared to normal. Pretty much perfect arc, if at a shallow angle.

the dude is great, sometimes im surprised that everything on the album is him considering the diversity of singing and instrumentals, cant say all songs on the album are great but enough are

I'm not sure what I expected, after reading about this album and then checking out other reviews. But this is pretty fantastic. Setting aside Spence's personal struggles for a moment, which necessarily underpin any discussion of this work, it's just really good. He floats pretty effortlessly from folk to psychedelic to bluesy rock, ethereal to dour. Spence is a talented guitarist with an interesting vocal range. It also appears he wrote, arranged and played these songs without much assistance from his producer, which is actually impressive. The fact that these songs were essentially demos works for them and the stripped down sound has allowed the album to age quite well. The only song that seems very much of the era is the first song, "Little Hands." The lyrics overall range from whimsical to disjointed and abstract, sometimes beautifully poetic. Consider them in terms of Spence's struggles, and some of them are pretty heartbreaking. This is the first album generated for me so far that surprised me in a really positive way. I will be listening to this one a lot in the future. Fave songs: Weighted Down, War in Peace, Grey/ Afro

Composed after a stay in mental hospital

Excellent album and wish he had more.

Reminds of something like the Nick Drake albums on the list combined with a little bit of that 60's Psychedelia vibe, which I dig pretty well. 4.5 bumped up to 5.

The album feels raw and broken, appropriately reflecting its artist. I appreciate it, in this case. This album just feels so human. Favorite tracks: "Little Hands" and "Books of Moses."

I wasn't the biggest fan but I know someone loves it, it's hard to rate anything less than 5 stars

Oh I need to open a nice bottle of wine (or a thing ) and sit with this while. Lights off music. Carefully cartoonish whimsical and trippy crazy, like a drunken but very polite walk through Newtown. What. Is happening? that doesnt matter, it just is. They let this be released? thank goodness, yes. I mean, YEAHS. yesh. they did. so 5 aces form me.

Raw

Very weird. Great emotions. Very pure and raw. Full of pain. Loved listening to it. I had the feeling I could hear what his brain looks like. Never heard anything like that before

OMG LOVED!

This is a singular album that lives in it's own unique space. It's so odd and mysterious and winding. I love it so much. It used to be in very regular rotation for me about 15 years ago and only listen to it once every few years now, but it's always incredibly rewarding. Very happy to pull this today.

I started off very skeptical that this was going to work out. But somewhere around the song Margaret-Tiger Rug I was fully on-board with this strange listen. And now I’m a bit obsessed with this. This is just the sort of thing one hopes to encounter every now and again as one listens to an album every day for more than 3 years. Terrific like a trip into Wonderland. At times wacky, confusing, country, folky, wistful, funny - and entertaining.

easily 10/10, one of my all time favourite albums

Syd Barrett's brother

It’s difficult not to be influenced by the back-story, but this stumbling search for music seems completely authentic. I felt close to something mysterious and powerful.

I didn't expect to enjoy it as much as I did.

I do not own a copy of this album and had not listened to it for a long time. True sixties classic from a musician who was obviously very talented. The kind of psychedelic rock that is still very accessible, as it is mixed with strong and classic song-writing.

Wow! I didn't know this album. It's fantastic.

It's a really weird experience

I generally have a level of skepticism around late 60s ‘lost masterpieces’. There is usually a good reason that these cult classics, beloved by white boy rock snobs and used as a form of musical gate-keeping: ‘oh, well, you wouldn’t have heard of it’. And I really uncomfortable with the fetishisation of mental health issues, as with similar outsider musicians like Wesley Willis or Vic Chestnutt or Roky Erickson or Syd Barret or even Brian Wilson. And mental health is key aspect of the legend of Skip Spence, who reportedly wrote this album during a six-month institutional stay. He then disappeared into decades of homelessness, mental health crises and drug addiction. He only recorded one more song after this album. It makes for a good story, but poor Skip had to live a pretty unhappy life to provide us with that ‘good story’. In some ways, it is a similar story to Syd Barrett, but without the financial cushion that Pink Floyd’s subsequent success provided. So, there are some red flags before we even start listening. While some songs drift off into psychedelic nonsense similar to Syd’s solo records), this is, overall, a stronger album than either of Syd’s solo records. The deluxe version contains quite a few additional tracks of lesser quality and focus, which shows that there has been some judicious editing here. Noting that Skip played everything and that these were intended as demos, the album is surprisingly strong and sounds spacious and relaxed. Skip’s guitar playing is generally tastefully restrained. I like his voice and his mumbly style was emulated by many an alternative band, with mixed results (I’m looking at you, Michael Stipe). I enjoyed many of the songs, including Little Hands, Cripple Creek, Diana, War in Peace and Book of Moses. I really like Grey/Afro, because it has a weird understated almost krautrock style, which appeals to me, but your mileage may vary. There is a 90s tribute album called ‘More Oar’, which has famous people covering the record, including Robert Plant, Mudhoney, and Tom Waits. These versions show the strength of the songs. I was disinclined to like this record, based on its critical reputation, but I have listened to it three or four times through, and have really enjoyed it. It is actually (quelle surprise) a good album. It is a pity that Skip couldn’t get the personal support he needed to maintain his creativity. I am going to rate it the same as I did Syd Barret's solo record, for which I hold much nostalgic affection, because it is, in fairness, a better record.

Hard to put a finger on why I found this record appealing. Sometimes creepy and odd, others haunting and odd. But usually some odd involved. Highlight: Broken Heart

This was a solid country rock psychedelic album. Skip Spence certainly has an ear for creating a darker atmosphere. It’s a shame his career was so short lived, he was clearly doing something that added to the psychedelia genre, once that feels bloated even as early as 1969. The back half of the album was more experimental and reminded me of 90s alternative and indie type music, certainly ahead of its time.

A curious album, seemingly classic late sixties folky singer songwriter fare but as the album progresses an experimental undertone begins to appear, as if he’s on the cusp of a musical breakthrough. One to dive into further.

Ok, this is the type of record that leaves me speechless. It's just beautiful. Listen to this album if you haven't already.

Tortured genius perhaps, this album is music to your ears when you’re super depressed, it’s difficult and awkward when you’re feeling alright 3/5

Interesting stuff - sort of a Nick Drake vibe, but with a bit more psychedelia thrown in. 3-4 stars. Big fan of 'Broken Heart'

Bro looks like he crawled out of a garbage can after a long winter's nap. Sad but interesting backstory, unfortunately the music didn't live up to the album's acclaim for me.

Sometimes your lone voice crying out in the wilderness is right while all the rest of the world is wrong. And sometimes you’re David Rubinson. According to Wikipedia, the record label said “these are just demos, we’re not releasing them” and the artist himself said, “those are just demos, don’t put those out” but David Rubinson insisted that they be released and now here I am almost 50 years later having to listen to this garbage. Music reviewers sometimes hear a really cool (probably untrue, because artists are liars) story about the making of a record and then tell people they have to listen to the record because it gives the reviewer an excuse to tell the cool story. Yes, yes, fire axes and mental institutions and a motorcycle, it’s all very compelling. But just tell me the story and don’t make me listen to this unfinished, rambling dreck. There is nothing about this album that warrants listening to it. This is out of tune talk-singing over semi-formed quasi-songs for 45 minutes or so. This album is without any merit whatsoever.

I feel like nobody would care about this album if they didn't know the backstory to it. The production of the album is beyond dreadful, and it sounds exactly like a producer being told to perpetually record a musician known to have lost his mind. Maybe some people can call this art, but to me this feels like a psychological experiment gone wrong where the end results are highly uncomfortable to anybody outside the experiment.

Fascinating, tragic background story, but this is a slog to listen through. From the wikipedia link: '...Rubinson chose to stay away from the studio, concerned that Spence's recording activities would be distracted by the presence of a producer.' Sounds like the recording process was Spence just rambling in a studio for hours on end with no input, and it shows. Too bad they didn't give him some help, maybe something interesting could have been made of this.

Can't help but feel this album made the list due to the mentally unstable- genius romanticism. But this isn't Brian Wilson making Smile. There are moments that album show's some potential, but it is so half-assed in it's production and performance that it makes it very difficult to listen to. I don't enjoy listening to someone having a mental breakdown, it's just sad

Who? The album is meh, a mixture of confusing depressing folk rock country music recorded following the musician's release from a psychiatric hospital - it's obvious that he wasn't in a good place, mentally speaking and some tracks sound like he was heavily medicated. Why this is in the 1001 albums you must hear before you die is anyone's guess.

I suppose I could take the cheap route and call Skip Spence the poor man's Fred Neill. But perhaps nothing sums up this album (or Skip Spence) better than this reminisce from Peter Lewis of Moby Grape: "...He (Skip Spence) actually OD'ed once and they had him in the morgue in San Jose with a tag on his toe. All of a sudden he got up and asked for a glass of water. Now he was snortin' big clumps of coke, and nothing would happen to him. We couldn't have him around because he'd be pacing the room, describing axe murders. So we got him a little place of his own. He had a little white rat named Oswald that would snort coke too. He'd never washed his dishes, and he'd try to get these little grammar school girls to go into the house with him. He was real bad. One of the parents finally called the cops, and they took him to the County Mental Health Hospital in Santa Cruz. Where they immediately lost him, and he turned up days later in the women's ward."

this album was a real audio spectacle. spence's first and only album ever released was made shortly after his time in a psych ward, after attempting to attack his bandmates with an axe. it's a true definition of a solo album. every single instrument he played himself; this is a one-man band, directly recording his dreams and nightmares onto analog tape. it's not just quirky prog rock, it's a direct window to the soul of a man with complex feelings about the actions he's done. it's a beautiful, haunting mental breakdown.

'A nice place to play / And no place to fall'; 'Oh, oh Diana / I am in pain / This is my heart beat'; 'If he could be free / He wouldn't have stripes on him, like jail.' This little record, tho at 22 tracks and over an hour long, is one of the great give-everything-at-once-I'm-about-to-fall-apart albums of all time, rivaled only by Big Star's Third/Sister Lovers. Utterly gorgeous and intensely heartbreaking, Oar is a feral collection of psychedelic and country-inspired virtuosity + sincerity. Like The Velvet Underground, but unlike The Beatles, Spence makes the strange thoroughly personal. Unlike most anything else, Oar harmonizes the desperate and the lighthearted: 'I found a lot of life that day / W/ her grandfather in the bowery'; 'So what.'

30 years before anyone to make that kind of music

Craziness

At first it was - oh not another psychadelia album - year checks out - artwork too. But as the record starts it starts from the ebbing tide of the summer of love - and descends deeper into a genuinely beautiful and emotional record. With hints of Drake, Dylan, Cash but not purposefully - it captures the end of the San Francisco sound - everyone moved the California and everyone now wants out. The ones that remain - Alex Spence one of them - are left dry and forgotten but not without leaving this gorgeous record in his way.

Don’t listen to these idiots, you’re banging

I like this song because of the beat and the way he sounds . I like this song I like the beat . I like the third song for the same resons I recomed this album

I love weirdo, outsider albums. I also love nervous breakdown albums. Finally, I love creative geniuses associated with a band going off on their own to create a solo album that incorporates all of the weird shit they couldn't do with the band. This has all three, and is a damn good listen.

I only know Skip Spence through Moby Grape. Their Grape Jam album is a favorite. I've always been fascinated with an artists ability to get the words and sounds from their mind out into the world as a tangible piece of art. This album is from a person who's obviously struggling. It's really a bummer, he was very talented.

Strašan album

super cool!! love it!

Amazing album, drags a little at the end. Still very masterful, similar to Bob Dylan or George Harrison

gives me Cash vibes enjoyed this album. He was in Jefferson Airplane.

Yes… Hahaha… Yes!

What a trip. This is like early "outsider" or "bedroom" music. Weird, lo-fi, messy but ultimately very unique, intimate, and honest. It is interesting as a record of Skip Spence's mental health issues, but it transcends that, because it's actually very good. Whenever you think a song is going to unravel, it just kind of holds together and works. I was never bored, and I'll definitely be re-listening to this for both its instrumentation and to pay more attention to its lyrics.

Oooh, I love this guy! He’s so far off, he’s fresh. It’s like Tom Waits had a stroke - and since Tom Waits, come to think of it, is like Leonard Cohen and Billy Joel had a baby and the baby had a stroke, this guys like Leonard Cohen’s piano baby had two strokes!

I really enjoyed listening to this and then reading more about him. Fascinating.

This is a surprising find! experimental, poppy, fun!

This app right here is great because I discover gems like this. Really enjoyed it!

3.6 I'm going to ignore all bonus tracks as they detract from the album. Enjoyable in parts, got better second time round. Some slightly grating inclusions, Lawrence from Euphoria for example. Can see why it was inspirational to a lot of singers, I thought a few of them sounded very Mark Lanegan-esque so pleasantly surprised to see he covered Skip. Books of Moses a high point. Story behind the album very intriguing, perfectly summarised by a country album made by someone clearly going off the rails.

I'm a sucker for a hard luck story like Skip Spence and Dennis Wilson. For some reason, those with internal struggles that become dramatic external struggles lend some credibility to the artist, make them real, human and ignite a desire to learn more. Joplin / Cobain / Spence, etc. My dad was a big Moby Grape fan. He saw them at the Fillmore, even got one of the posters at the show. The only reason that I'm familiar with SS is due to my dad and I remember when SS died. He was written up in so many papers, it was kinda big news in pop culture. And then came the tributes to him, one of which was Beck, who my dad knew I was a fan of. Tho I don't think I had heard this album in its entirety until now, Skip Spence and this album became common ground for us to connect. And listening to the album it's almost as if you can hear the voices in his head, and the noise of the silence. This is one of those albums that I'll listen to long after 1001 has ended, of which I mostly credit my dad.

I don't believe I hadn't heard of this. This is absolutely in my wheelhouse, I love strange, raw music earnestly exploring uncomfortable emotional states, and Oar fits this description to a tee. Alexander Spence came from the world of psych, and at the time, the dominant culture in this space was optimism and righteous anger and bacchanalian consumption of psychedelics. However, a figure like Spence highlights the darkness running underneath it all. His story (much like the more well known Syd Barrett's) serves as a grim reminder of the casualties of this culture, people who broke down under it all and were left to be forgotten at the fringes of society. This is why albums like Oar and other more formal outsider albums are so important, they provide a voice to their creators who may well not have one otherwise. With that being said, what does this album actually sound like? It is a fragile, occasionally haunted and surprisingly varied singer-songwriter album encompassing folk, psych, and late '60s rock music. For the reputation this album has, the songs are actually very good. If you can get into the kind of performances that are across this album, the music at the core here is well written and consistently interesting, with really compelling lyrics. Some of this stuff sounds pretty ahead of its time too, a couple of songs here sound uncannily similar to the music that Leonard Cohen would later make, and this may just be me, but some of the kind of slanted rawness here almost makes me think of the kind of thing that some lo fi indie songwriters were trying to achieve in the '90s. But honestly, the performances are what makes this come together for me, difficult as they may be. I really feel that Spence is baring his soul across this, and the cumulative result, within the context of his life, is kind of profoundly sad. I have a lot of respect for the list's inclusion of this, placing an album like this in the sort of publication that "1001 Albums..." is works towards legitimizing it in the broader music world and, ideally, will help people to see this as a worthwhile piece of art even without its context. I really love this.

I was not looking forward to listening to an hour plus long album that has been described as "one of the most harrowing documents of pain and confusion ever made". But the shagginess of it caught me off guard and I wasn't prepared for how much I liked enough of the songs as a result to give it 4 stars.

this album was dark, and kind of triggering to be honest. i guess the fact that it sent me into an anxiety spiral is a good thing, in this context

I really enjoyed listening to it. It was weird but beautiful. Nice to discover music like this.

As an album, this certainly seems like a selection of songs that have been recorded... Gave the whole thing a go, then went back to the original 12- track album, which feels more cohesive and less bloated. Lots of interesting stuff going on, with rhythm and that fragile, mumbled voice. A few tracks I can forget, but a few I'll probably always remember. Worth a revisit.

I rate Little hands a 4 star because its like country and I don ´ t really like country but the guitar and the beat is good. I rate Cripeled creek a 4 star because its like country and I don ´ t really like country but the guitar and the beat is good. I rate Broken heart a 4 star because its like country and I don ´ t really like country but the guitar and the beat is good.

Do you want to listen to some music that has some really good guitar? Well in Little Hands you can! I rate this song a ⭐⭐⭐⭐. I recommend this song. Do you want to listen to some music that has a some drums? Well in Cripple Creek you can! I rate this song a ⭐⭐⭐. I kind of recommend this song. Do you want to listen to some music that has a lot of guitar? Well in broken heart you can! I rate this song a ⭐⭐⭐⭐. I recommend this song.

Le même album qui fait la moitié de la durée avec les meilleurs titres et c'est un chef d'oeuvre caché.

custom_rating:7.5

So good

I don't know what I liked about this album, but I really enjoyed it. Easy to listen to and good background music.

Trippy story what a cool dude what a cool album

The artist may have been unhinged but these songs were really good. War and Peace stood out to me in particular. I wish this album would've gotten the production quality it deserved but glad I got to hear it overall.

Circle back

I can’t tell if this is brilliance, mediocrity, or indulgent trash. Maybe all of it? It’s surprisingly good to listen to and you can hear a lot of sounds that echo through other bands when you consider when it came out. But I can see why I never heard of it before this list.

Alexander "Skip" Spence's *Oar* is a singular and enigmatic album, often regarded as a cult classic. Released in 1969, it was Spence's only solo record and emerged from a tumultuous period in his life, including a stay at Bellevue Hospital following a mental health crisis. The album is deeply personal, marked by its lo-fi production, eclectic musical styles, and raw emotional depth. Below is an in-depth review focusing on its lyrics, music, production, themes, influence, and an evaluation of its strengths and weaknesses. ## **Lyrics** The lyrics on *Oar* are introspective and fragmented, reflecting Spence's mental state during its creation. They oscillate between surreal imagery, melancholy reflections, and moments of dark humor. For instance: - **"Weighted Down (The Prison Song)"** explores themes of jealousy and alienation with lines like *"Whose socks were you darning, darling, while I've been gone so long?"* The song feels like a lament from someone grappling with betrayal and isolation[2]. - **"Books of Moses"** uses biblical references to evoke a sense of existential searching amid stormy sound effects[6]. - **"War in Peace"** juxtaposes spiritual longing with haunting imagery, creating an ethereal atmosphere that invites interpretation[6]. Spence's lyrics often feel cryptic or muffled, which some interpret as a deliberate artistic choice to mirror his inner turmoil. This approach has drawn comparisons to later artists like R.E.M., who embraced unintelligible vocal delivery as an aesthetic[2]. ## **Music** Musically, *Oar* is a kaleidoscope of styles, blending folk, country, blues, and psychedelic elements. The album’s sparse arrangements are striking: - Spence played all the instruments himself—guitar, bass, drums—creating an intimate "one-man band" feel[7]. - Tracks like **"Grey/Afro"** feature experimental structures with shifting time signatures and unconventional rhythms[3]. The song’s hypnotic bassline contrasts with disjointed drumming and hushed vocals. - **"Broken Heart"** channels Johnny Cash-like country balladry with slow pacing and echoed vocals[6]. - **"Diana"** showcases Spence’s ability to shift vocal styles dramatically—from a deep bass to a falsetto wail—adding emotional texture to the music[4]. The instrumentation is deliberately unpolished. Mistakes in timing or tuning are left intact, lending the album an organic quality that feels both fragile and raw. This unpredictability can be disorienting but also captivating. ## **Production** Recorded in just two weeks on a modest budget at Columbia Studios in Nashville, *Oar* has a lo-fi aesthetic that enhances its intimacy. Spence acted as his own producer, layering tracks with minimal equipment. The result is an album that feels like an unfiltered glimpse into his psyche: - The production emphasizes midrange frequencies and often buries vocals under layers of reverb or distortion[6]. - Sound effects like thunderclaps (on "Books of Moses") or whispered echoes (on "War in Peace") create an eerie atmosphere[6]. - While the stripped-down approach suits the album’s themes of isolation and introspection, it occasionally veers into murkiness that obscures its musicality. ## **Themes** Thematically, *Oar* delves into alienation, mental illness, love, spirituality, and mortality. These themes are explored through both lyrical content and musical tone: - **Isolation:** The album’s solitary recording process mirrors its recurring themes of loneliness and detachment. - **Mental Turmoil:** Songs like "Lawrence of Euphoria" capture the disjointed thoughts of someone grappling with instability. - **Spirituality:** Tracks such as "Books of Moses" suggest a search for meaning amid chaos. - **Love and Loss:** Many songs reflect fractured relationships or unfulfilled desires. Despite its somber tone, there are moments of levity and playfulness that prevent the album from becoming overly bleak. ## **Influence** Though commercially unsuccessful upon release—selling fewer than 1,000 copies initially—*Oar* has gained recognition over time as a precursor to lo-fi and outsider music. Its influence can be seen in artists like Daniel Johnston and Smog (Bill Callahan), who similarly embrace raw production and deeply personal songwriting[3]. The album has also inspired tribute projects by contemporary musicians who admire its unique spirit. However, these tributes often fail to capture the ineffable quality of Spence’s original work—a testament to its singularity[1]. ## **Pros** 1. **Emotional Authenticity:** *Oar* feels deeply personal and unfiltered, offering listeners an intimate connection to Spence’s psyche. 2. **Eclectic Musicality:** The blending of folk, country, blues, and psychedelia creates a rich sonic palette. 3. **Innovative Production:** The lo-fi aesthetic was ahead of its time and has influenced generations of artists. 4. **Vocal Range:** Spence’s ability to shift between vocal styles adds depth to the songs. 5. **Cult Status:** Its rediscovery has cemented it as a touchstone for outsider art. ## **Cons** 1. **Inaccessibility:** The fragmented lyrics and unconventional structures can alienate casual listeners. 2. **Uneven Quality:** Some tracks feel underdeveloped or marred by technical imperfections. 3. **Murky Production:** While atmospheric, the lo-fi sound occasionally obscures the music’s finer details. 4. **Pacing Issues:** The album’s slow tempos can make it feel monotonous at times. ## Conclusion Alexander "Skip" Spence’s *Oar* is not merely an album—it is an artifact of raw human expression. Its flaws are inseparable from its charm; the imperfections make it feel alive in a way few records do. While it may not appeal to everyone due to its unconventional nature, those willing to engage with its idiosyncrasies will find a deeply moving work that stands as both a testament to Spence's artistry and a poignant reflection of his troubled mind. For fans of lo-fi music or those interested in exploring the outer edges of folk-rock experimentation, *Oar* remains essential listening—a hauntingly beautiful document from one of rock’s most enigmatic figures.

Nothing on the album really connected with me. Nice background music, but I didn't get much more out of it.

First-time listen for me. I like my acoustic psych-folk a little raw. Great stuff!

I’m a sucker for a good backstory. This interested me before I even turned it on. And then, it was pretty good to boot.

the problem with me is that i unfortunately like this kind of weirdo folk bullshit

Woozy and skiffly, this is intriguing and not at all unpleasant record, if not massively compelling (okay, maybe one'll go along with editors on "mesmeric"). First psych-folk record, maybe? Certainly, not urgent to know, its inclusion seems to overrate the obscure and perhaps exploitative of the rich tradition of the mentally-shaky artist (certainly reminiscent of Forster and someone tell Devendra B and N. Cave to start citing this as an influence if they're not doing it already and poor man's Syd Barrett, blah, blah, blah) – like the Picasso scribbly sketches on paper bags. Also, goes on too long to a significant extent. Rounding up because the guy seemed to be having a rough enough time already. Plus bonus points for such a good song title: "Dixie Peach Promenade (Yin for Yang)"

I can see why it is so influential. But it is also hard work I will come back to this at another time.