HATFIELD AND THE NORTH

1. The Stubbs Effect and Big Jobs (Poo Poo Extract) as canter openings, soft, jazzy soft pop; soft rock, experimentation, already. 3. Going Up to People and Tinkling follows, a muted pop air, a fusion of genres from a jazzy bar night, ah, it's becoming clearer, sound effects too, cinematic one would say today. 4. Calyx continues, trumpet and backing vocals or both at the same time, vocal rambling above all with the great Robert leading the way. 5. Son of "There's No Place Like Homerton," an epic track whose sequencing is once again noteworthy, hence the prog vein certification; a beautiful peregrination with wind instruments at the forefront, the melody flowing unrestrainedly on an avant-garde side of the time, combining classical, hushed ambiance and suave compositions, the moment when we can understand the progressive wanderings of Pink Floyd, Genesis, Magma, Robert Wyatt. A subdued bon mot for this purely progressive take on the early 70s. An atmosphere that flirts with the works of the great King Crimson in the final third, with sax and shrill backing vocals. 6. Aigrette, not sour but almost, with this more instrumental vocal for the pastoral, floral interlude. 7. Rifferama and Richard with his swirling bass, a Camel, Caravan, born in Canterbury. Phil uses his energetic guitar to flirt with free jazz-rock, harking back to the future of Return to Forever.

8. Fol De Rol follows with this mantra from another age, a moment where each note coming together becomes nostalgic, vibrant, or exasperating, depending on the listeners' tastes; perfection of the moment, soulless tinkering.

9. Shaving Is Boring follows with the typical Canterbury take; It starts out of nowhere, it's barely audible, and then, and then it transforms into a minimalist electronic musical mishmash that holds up, like the work of Tangerine Dream; confusing, astounding, gradually captivating; an open-door break, the sound of footsteps, and the finale, as if coming from elsewhere, for the organ-bass-guitar assault on Canterbury time, the one that melts time with notes. 10. Licks for the Ladies follows, as if there were no sides on LPs at the time; a rural atmosphere with a distant vocal on an acoustic guitar and its electric organ. 11. Bossa Nochance follows, just more energetic. 12. Big Jobs No 2 (by Poo and the Wee Wees) in the same vein, well, why separate tracks that are only the musical continuation? Soft vocals and guitar play the part with a honeyed undertone. 13. Lobster in Cleavage Probe arrives, electric organ on choirs of sirens or nuns in bloom, the bucolic scene is confirmed; a battle without weapons between two female choirs wandering in cloudy limbo before the powerful solo, launching 14. Gigantic Land-Crabs in Earth Takeover Bid and its unashamedly crimsonian solo into violent, archaic, heavy territory?yes, the word is out, which makes me smile at the look of my prog friends, impervious to the prog metal movement, in short; a little sweetness, clarinet, tweet, tweet, or almost, before the new deluge and 15. The Other Stubbs Effect closes the debate with the psychedelically disturbing outro.

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