After the stripped-back collection I Often Dream of Trains, Robyn Hitchcock slowly formed a backing band called the Egyptians with ex-Soft Boys Andy Metcalfe and Morris Windsor, and keyboardist Roger Jackson over the course of the next year. Fegmania!, the Egyptians' first album, was a distinct departure from both the Soft Boys and Hitchcock's previous solo work, featuring layered, intertwining guitars and keyboards that created lush and thick sonic textures. Even with the more detailed arrangements, the songs remained twitchy and off-kilter, with melodies that usually went in willfully unpredictable directions, yet remained catchy all the while. Fegmania! was Hitchcock's most consistent work to date, featuring such highlights as the Eastern-tinged "Egyptian Cream", and the creepy "My Wife & My Dead Wife", and the relatively straightforward "The Man with the Lightbulb Head".
After the break-up of The Soft Boys, Hitchcock recorded two solo albums — Black Snake Diamond Role and the experimental Groovy Decay — before hitting an artistic slump mitigated only by some collaborations with Captain Sensible. He re-emerged in 1984 with this all-acoustic album, the cathartic process of which he later likened to John Lennon's first solo work Plastic Ono Band, as he shook off the depressing effects of the unsatisfying Groovy Decay sessions. The album was recorded in the space of a few days under the working title Crystal Branches (taken from a line in the song "Winter Love", not originally included in the track listing). Hitchcock plays acoustic and electric guitar and piano and delivers direct with occasional multi-tracked vocals.
Silva Screen Records present earlier composers who were masters of music on Hitchcock films, and later films with Bernard Herrmann on the second CD. The "CONCERTO FOR ORCHESTRA" is Miklos Rozsa's haunting theme which lasts over nine minutes is something from heaven. "STRANGERS ON THE TRAIN" the Dimitri Tiomkin contribution is also an outstanding track which can move the unmoveable with the heart-racing pounding sounds that the two composers generate. Both composers Rozsa and Tiomkin have a list of accomplishments a mile long, but to hear their music on a Hitchcock film is pure geneious in film making and scoring.