CANTERBURY SCENE

A Progressive Rock Sub-genre

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Canterbury Scene definition

With many other types of English progressive music developing mostly in London, it may at first seem strange that the old pilgrimage centre and relatively quiet cathedral city of Canterbury, became the centre of this very English form of progressive music and jazz fusion. Originally the Wilde Flowers, a teenage band of members living in and around Canterbury, playing a mix of pop, R'n'B and band members with a developing love of jazz, was formed in the 60's and became the seedling from which the Canterbury Scene grew. Australian beatnik Daevid Allen during a long stop-over at Robert Wyatt's parent's home, a refuge for many left field artists, was to catalyse the evolution of the Wilde Flowers into the fledging Soft Machine and the development of some avant music during the English psychedelic and underground period. From 1963 to 1969, the Wilde Flowers included most of the figures who later formed Canterbury's two best known bands, (The) Soft Machine (Robert Wyatt, Kevin Ayers, Hugh Hopper) and Caravan (Pye Hastings, David Sinclair, Richard Sinclair, Richard Coughlan).

Canterbury was then to be the cradle for several of the more freewheeling British bands of the post-psychedelic era. While fans would suggest this is the home of an English musical quirkiness tempered with quite a bit of whimsy, within the Canterbury Scene's musical spectrum any similarities between Canterbury's major bands, (e.g. Soft Machine, Caravan, Gong, Robert Wyatt, Kevin Ayers, Hatfield & the North, Egg, National Health), are not immediately obvious*. Most bands will be found employing a clever fusion of rock rhythms and jazz improvisation with intellectual song-writing and varying strengths of psychedelia - some would too include folk elements (e.g. Spirogyra), others blues (e.g. Carol Grimes and Delivery). In addition, a number of bands employed various elements from classical music, for instance those bands with Dave Stewart playing keyboards. Whilst there have been a handful of excellent and distinctly different guitarists to play with Canterbury bands (e.g. Andy Summers, Allan Holdsworth, John Etheridge, Steve Hillage, Phil Miller), the lead instrument of choice has been keyboards. One English peculiarity of Canterbury is what the late John Peel called the 'School of Anti-song' because of particular Wyatt, Ayers and Richard Sinclair's approaches to vocals and perhaps the whimsy. More recently Richard Sinclair's vocal style has perhaps accurately been labelled as 'English jazz singing' by Jazzwise (i.e. singing jazz with an English rather than the usual American accent). In addition Canterbury musicians have experimented as avant garde, free jazz players, e.g. instance Elton Dean, Lol Coxhill, Steve Miller.

(*However, once you've heard some Canterbury bands the commonality becomes more obvious - chord sequencing e.g. Caveman Hughscore's electric piano opening on the tune 'More Than Nothing', the vocals, the lyrics etc.)

Both the Soft Machine and Caravan were popular in England's psychedelic/ underground scene before releasing their first albums in 1968, with Machine completing on level footing with Pink Floyd. However, by the early 70's a series of fragmenting changes of bands' line-ups, (Soft Machine went through about 30) and the subsequent formation of new bands, rapidly broadened Canterbury's range, with many newer musicians with only loose and in fact, no previous Canterbury connections. Early Soft Machine member Daevid Allen formed Gong in Paris. Both Kevin Ayers and Robert Wyatt left the Softs because of musical developments they did not like, to begin their own solo careers. By the mid-70's, most the old and new Canterbury bands had progressed away from psychedelia, developing their distinct forms of progressive rock some embracing jazz fusion, many playing extended jams with now limited lyrical input (e.g. Hatfield and The Norths, National Health, Gilgamesh). Caravan became more folky. However, as the 70's progressed several Canterbury bands would lose most of the rock element from their music. Gong retained their psychedelic side longest, but with the departure of Daevid Allen and Steve Hillage in the mid 70's, the band evolved into the percussion-oriented, jazz rock group Gong, which eventually became the modern day Gongzilla. Daevid Allen regained Gong's name in the 90's and through his solo work and with his University of Errors, is still evidently producing psychedelia. Steve Hillage's form of psychedelia evolved into the glissando rock of his own band and then into electronica, by the end of the 70's. In particular, Hillage through his work as a successful record producer of new bands from the 80's, develop his form of electronica through other bands. This music lost much of its complexity e.g. few riffs played over and over, rather than dozens per tune that previously had often typified prog, into a very popular form that is the antithesis of prog, i.e. the various forms of house music, with associated remixing/turntablism. For instance, Gong's "You" got the remix treatment in the 90's - but then to reflect his range of activities, Hillage has also produced and played guitar for Algerian Rai singer, Rachid Taha for over 20 years.

Many of Britain's better known avant-garde and fusion musicians of the 70's and 80's - including Fred Frith (Henry Cow), Allan Holdsworth (Gong, Soft Machine, UK, Bruford) and Peter Blegvad - were involved during their early careers playing in Canterbury bands. And still new musicians join the Canterbury Scene's ranks, Theo Travis being perhaps the most notable recently (Gong, The Soft Machine Legacy). The Canterbury scene was to have a major influence on musicians in Europe, especially France (e.g. Gong, Moving Gelatine Plates), the Netherlands (Super Sister)and Italy (Daedalus), and more belatedly in the USA (Hughscore). Caravan reformed in the mid 90's, while ex-members of Soft Machine could be found in various avant jazz and straight jazz fusion groups, e.g. Just Us, Soft Heap, Soft Works and most recently The Soft Machine Legacy. From the Canterbury Scene, RIO it its various forms has developed.

FOOTNOTE: As indicated above, many Canterbury Scene bands are acknowledged as having played/are playing jazz rock fusion. However, because of their strong Canterbury affliations are listed under "Canterbury Scene" in Prog Archives.

Dick Heath
Based loosely in part on the source: http://www.allmusic.com
(Edition 3, Aug 2009)

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Drew (BrufordFreak)
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Canterbury Scene Top Albums

Showing only studios | Based on members ratings & PA algorithm* | Show Top 100 Canterbury Scene

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4.32 \| 1981 ratings IN THE LAND OF GREY AND PINK Caravan	4.29 \| 988 ratings ROCK BOTTOM Wyatt, Robert	4.29 \| 811 ratings SPACE SHANTY Khan	4.26 \| 1130 ratings RADIO GNOME INVISIBLE VOL. 3 - YOU Gong
4.27 \| 883 ratings HATFIELD AND THE NORTH Hatfield And The North	4.25 \| 1169 ratings IF I COULD DO IT ALL OVER AGAIN, I'D DO IT ALL OVER YOU Caravan	4.28 \| 517 ratings OF QUEUES AND CURES National Health	4.19 \| 1146 ratings THIRD Soft Machine, The
4.22 \| 651 ratings THE ROTTERS' CLUB Hatfield And The North	4.17 \| 869 ratings FOR GIRLS WHO GROW PLUMP IN THE NIGHT Caravan	4.26 \| 319 ratings TO THE HIGHEST BIDDER Supersister	4.14 \| 766 ratings RADIO GNOME INVISIBLE VOL. 2 - ANGEL'S EGG Gong
4.30 \| 190 ratings THE WORLD OF GENIUS HANS Moving Gelatine Plates	4.12 \| 486 ratings THE POLITE FORCE Egg	4.13 \| 455 ratings NATIONAL HEALTH National Health	4.12 \| 468 ratings BUNDLES Soft Machine, The
4.11 \| 497 ratings FISH RISING Hillage, Steve	4.12 \| 367 ratings MAINSTREAM Quiet Sun	4.11 \| 315 ratings PICCHIO DAL POZZO Picchio Dal Pozzo	4.15 \| 241 ratings VIVA BOMA Cos

Canterbury Scene overlooked and obscure gems albums

Random 4 (reload page for new list) | As selected by the Canterbury Scene experts team

ABBIAMO TUTTI I SUOI PROBLEMI
Picchio Dal Pozzo

GILGAMESH
Gilgamesh

HOPPER TUNITY BOX
Hopper, Hugh

JOHN GREAVES, PETER BLEGVAD & LISA HERMAN: KEW. RHONE.
Greaves, John

Latest Canterbury Scene Music Reviews

Live At Henie Onstad Art Centre by SOFT MACHINE, THE album cover

Live, 2009

4.14 | 31 ratings

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Live At Henie Onstad Art Centre
The Soft Machine Canterbury Scene

Review by Warthur
Prog Reviewer

Archival live releases from Soft Machine have become thick on the ground these days, but releases like this one show why - the band were absolutely dynamite in in this phase of their existence and the recording quality on this appearance in Norway is superb. This hails from around the release of Fourth, so we're quite late in Robert Wyatt's tenure in the group; vocal performances and psychedelic whimsy are out, growling jazz fusion is in. You get much of Third here (minus, of course, the vocals-heavy Moon In June), plus selections from Fourth and early takes on material which would materialise on Fifth, plus a few numbers which Soft Machine extensively performed live but didn't really set down in the studio; the overall sound is a bit sharper and more disciplined than Third, a bit more lively than Fourth and Fifth.

Facelift France & Holland by SOFT MACHINE, THE album cover

Live, 2022

4.19 | 7 ratings

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Facelift France & Holland
The Soft Machine Canterbury Scene

Review by Warthur
Prog Reviewer

Yet another Soft Machine archival release from Cuneiform captures performances from January to March 1970 - in other words, square in the period when Third was coming together. The sonic transformation from out-there psychedelic delirium to cutting edge jazz fusion has been largely complete, Robert Wyatt's vocals have been largely bypassed, and the short-lived dual saxophone lineup of Elton Dean and Lyn Dobson is the hot new feature of their music these days. Between this, Mike Ratledge's gruesome and haunting manipulations of his organ and keyboards, and the Hopper/Wyatt rhythm section on good form, it's a snapshot of the Soft Machine in one of their most creative eras. The sound mix is not what it could be, but is reasonably good for 1970.

Hidden Details by SOFT MACHINE, THE album cover

Studio Album, 2018

3.87 | 230 ratings

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Hidden Details
The Soft Machine Canterbury Scene

Review by Mellotron Storm
Prog Reviewer

More than a few eyebrows were raised when the SOFT MACHINE LEGACY lineup returns 5 years later calling themselves SOFT MACHINE. Babbington and Marshall have been part of SOFT MACHINE since 1973's "Seven" and John Etheridge jumped on board for "Softs" but playing with them live before that when Holdsworth left. So they are certainly legit using the name and the music here to my ears sounds more like SOFT MACHINE than SOFT MACHINE LEGACY. I have enjoyed this record right from the first spin and if not for tracks 4 and 5 I'm thinking of a higher rating. Those two tracks are good but too laid back and mellow in my opinion.

This is so good though, I am a little surprised. Theo Travis the young guy composed most of the material plus they cover a couple of old SOFT MACHINE tracks. Travis feels like the new Karl Jenkins to be honest adding electric piano to the sax and flute. The cover art is very cool and done by Lasse Hoile. The album was recorded by the legendary Jon Hiseman who sadly passed before it was released hence the dedication "In memory of Jon Hiseman a wonderful musician who engineered the album so brilliantly. Thanks to him and Barbara who took such good care of us during the recording." Man John Marshall is looking old, I actually just looked up his age only to find someone who released a statement saying Marshall had just passed. Hope that's wrong but he retired after the followup to this "Other Doors" while Babbington retired after this album guesting one last time on "Other Doors" on two tracks with his buddy John Marshall.

Oh the music? I am surprised and so impressed at how experimental some of this is. Surprised at Etheridge letting his hair down so often. Marshall just sounding so random much of the time. And Theo with the flute and sax of course including some dissonant and inventive moves but his electric piano play is something I really appreciate bringing "Seven" to mind. A top five includes the opener, the title track and there is some intensity here. Nasty guitar in fact around 4 1/2 minutes in. The two SOFT MACHINE covers are awesome and they help make this special. They being "The Man Who Waved At Trains" and "Out Bloody Rageous(Part 1)". This album ends strongly with those last three tracks and "Life On Bridges" is my favourite track on here and the longest at 8 minutes. This one and the next "Fourteen Hour Dream" round out my top five. There is some otherworldly music on here too my friends including the closer "Breathe" and the "Out Bloody Intro".

This album and Rik's review of "Other Doors" has me tracking down the most recent SOFT MACHINE effort "Other Doors" which could be the last SOFT MACHINE record and that would be a shame.

The Dutch Lesson by SOFT MACHINE, THE album cover

Live, 2023

4.10 | 10 ratings

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The Dutch Lesson
The Soft Machine Canterbury Scene

Review by kev rowland
Special Collaborator Honorary Reviewer

There is no doubt that the Softs are still to this day one of the most important and influential progressive rock bands ever, and this live recording captures the short-lived quartet of Roy Babbington (electric 6-string bass), Karl Jenkins (soprano sax, baritone sax, oboe, electric piano), John Marshall (drums) and Mike Ratledge (electric piano, organ). Actually, this quartet formed the core of the band for a few years in the mid-Seventies, but they first extended with the addition of Allan Holdsworth who was then later replaced by John Etheridge. It is incredible to think that some 50 years after this recording there is still a version of the band going, and a new album (with Marshall still involved) has just been released.

But in 1973 the quartet were back in Rotterdam, playing at De Lantaren, on October 26th to a sell-out crowd. In that audience was record store owner Bert Boogaard, who sat in the front row with a tape machine and captured the night in remarkable quality as this never sounds like an audience recording at all. This was a band who lived for the road and the improvisations and different versions which came with it, and it would have been some surprise to many that they only played one song, "Down The Road", from their latest album, 'Seven'. There had been a heavy use of overdubs on that release and possibly they had decided other songs were not working in the four-man line-up onstage, but for hardcore fans there is the delight of an early version of "Hazard Profile", which would feature in a greatly extended version on their 1975 album, 'Bundles'.

Having a multi-instrumentalist in Jenkins means the band are able to change the approach, but for the most part they are happy with two keyboards players, a bassist with a heavily fuzzed and distorted sound, and a drummer who never seems to settle and who must have been exhausted at the end of every set. This is dynamic and exciting music, and to my mind the best way to listen to this is on headphones and with eyes closed and allow yourself to be taken on a journey of exploration and excitement as one never knows where the music is going to lead, and often that is the same for those playing it as well. Apparently, there are not many recordings available from this period of the band's history, which is a real shame, as this captures the Softs in full flow and there really was/is no-one else like them.

Other Doors by SOFT MACHINE, THE album cover

Studio Album, 2023

4.20 | 31 ratings

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Other Doors
The Soft Machine Canterbury Scene

Review by rik wilson

"Other Doors by Soft Machine is easily a five star rating. It's everything you would expect from this great, great, band.I think the band is improving with ageless grace. Let me begin: "Carless Eyes" flute intro; pensive guitar; notes echo over. keyboard vibes in heavy echo. This piece is short; somewhat like Jade Warrior's later work. A very tranquil third world atmosphere which leads into "Penny Hitch" (previously on "Seven"). The tempo i slower with ample space for each instrument to solo in former bassist Roy Babbington plays on this track and "Now, is the Time." The new bass player is Freddy Baker who adds his own rhythmic spins to the music. Freddy could possibly be Fred Baker (previously played with Dave Stewart, In Cahoots, and other releases. Maybe. "Other Doors" begins with guitar intro followed by horn from Theo Travis (previously played w/Fripp, Tangent). The pace is measured, relaxed with John Marshall's drum fill accents. Theo's horn solo is terrific - very bouncy and Elton Dean like. "Crooked Usage" is a dreamy echo jazz fusion arena. Everyone gets loose; then snaps together at the end in a regimented cascade of purposeful notes of oblivion. "Joy of a Toy" (which originally appeared on their first album) The music stays true to the original sound; except there is added counterpoint and background rhythm. The entire song is a delight. "Whisper Back" shows John Ethridge's guitar work has become more adventurous and stately. "The Stars Apart" Begins like "The Song of Aeolus" and has that similar overall feel. The bass solo is outstanding and emotive. The keyboard chords punctuate the piece with a dynamic punch that leads the music along. Excellent Softs. Regal. "Now, is the time" allows Roy Babbington to shine as he leads this piece with his characteristic rhythmic swing. Good stuff! "The Visitor At the Window." An atmospheric piece with a deep echo - of varying depths. Theo gestures notes of flute and sax solos that dance and swim across the depths. Nice guitar doodling from Etheridge. "Maybe Never." Begins like a sci-fi horde of bees awakening. Keyboard bleeps, chatter and computer noises add to the musical wash of space. "Back in Season." Begins with a piano riff, cymbals, and restraint. Another piece with a measured flow. The music would fit nicely on other earlier Soft Machine albums. Killer flute toward the end with an overlaid guitar blast in and out of the mix. Jazzy free, and beautiful finish to an outstanding release by this Soft Machine. Wonderful. Keep it up, Please!

Studio Album, 1972

4.29 | 811 ratings

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Space Shanty
Khan Canterbury Scene

Review by CygnusX-1

Once again, the Canterbury scene produced an incredible masterpiece! Though Space Shanty is a somewhat crude, rough, and unorganized album, the music speaks for itself when it comes to skill and intelligence. The vocals, though not incredible, fit the sound well and round the album out quite nicely. The guitars and keyboards dominate the style, and do so with finesse, perfecting Khan's canterbury progressive-psychedelic sound. The bass and drums provide an excellent rhythm section as well. And even outside of the sound, the album art is just rad, and goes with the album title well.

Overall, this is an incredible example of classic canterbury progressive rock, and a must-have for any prog rock fan.

Another Fine Tune You've Got Me Into by GILGAMESH album cover

Studio Album, 1978

3.49 | 111 ratings

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Another Fine Tune You've Got Me Into
Gilgamesh Canterbury Scene

Review by CygnusX-1

Its hard to imagine that something as obscure as Gilgamesh could produce a 5-star masterpiece. One would assume that if they had created such good music, they wouldn't be so obscure. However, clearly, Another Fine Tune You've Got Me Into is the exception that proves the rule. Yes, its weird. Yes, it is obscure. But when actually listening to the music itself, one can discover how truly incredible this album is. The album features the quiet but complicated "Darker Brighter," the brilliant "Bobberty / Theme For Something Else," the acoustic "Waiting," as well as many other gems. Definitely a surprising masterpiece of progressive rock, and essential to any collection.

Kevin Ayers & The Whole World: Shooting At The Moon by AYERS, KEVIN album cover

Studio Album, 1970

3.71 | 107 ratings

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Kevin Ayers & The Whole World: Shooting At The Moon
Kevin Ayers Canterbury Scene

Review by Fercandio46

First of all, for those who don't know him, Mr. Ayers is, in my opinion, one of the great voices, different but just as great as that of the first Greg Lake or Ian Anderson (in the early '70s). But Kevin is also an example of creative freedom, which transcends mere musical composition. In particular, on this second album, he began to move away from Soft Machine and developed his own avant-garde, led by experienced jazz musicians, and a young Mike Oldfield whose solo on the song "Lunatics Lament" is in the anthology of monumental solos. The lyrics, the singing in French, the intelligence and lyricism of the lyrics, plus the delicate balance between experimentation and the apology for beautiful and sophisticated melodies, make this a fundamental album, without commercial commitments, without being accountable to anyone other than to his own art.

If I Could Do It All Over Again, I'd Do It All Over You by CARAVAN album cover

Studio Album, 1970

4.25 | 1169 ratings

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If I Could Do It All Over Again, I'd Do It All Over You
Caravan Canterbury Scene

Review by Argentinfonico

What an impressive work. Caravan exudes more magic on this album than many big name bands in their entire discography. It is as if a new level of composition, of sonic beauty, is known. In 1970, they already had everything clear. The merits of the Sinclair cousins here are very difficult to measure. The album achieves a kind of fragile, but always magical continuity that I can't imagine could disappoint anyone. Caravan is one of the most pioneering bands in all rock. Everything is marvelous here, but the suite "With an Ear..." is a perfect composition, outstanding all around. Definitely my favorite song on the album. This is a true marvel.

Ecco l'impero dei doppi sensi by HOMUNCULUS RES album cover

Studio Album, 2023

4.14 | 37 ratings

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Ecco l'impero dei doppi sensi
Homunculus Res Canterbury Scene

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

One of the very few Italian Canterbury jazz bands sitting in a small club with Picchio dal Pozzo, The Winstons and Instant Curtain, HOMUNCULUS RES has been more productive than any of its competitors by sticking it out for over a decade now and has successfully released five bonafide studio albums. These Sicilian chaps have taken pride in resurrecting the lesser tread upon universe of English Canterbury Jazz and has successfully integrated the Italian language into an otherwise very non-Italian art form.

ECCO L'IMPERO DEI DOPPI SENSI (Here Is The Empire Of Double Meanings) finds the band in fine form cranking out its knotty progressive rock compositions flavored with Canterbury textures a la influential bands such as Soft Machine, Hatfield & The North as well as fellow Italians Picchio dal Pozzo but also capturing a more liberal sense of compositional freedom with Zappa-esque improv as well as a stronger emphasis on melodies that seem to take inspiration form the classic symphonic Italian prog greats ranging from PFM and Banco to Arti & Mestieri. ECCO features a new batch of ten tracks that excel at crafting an instantly infectious connection laced with all those proggy hairpin turns that screams sophistication!

What's new here? Well i'm detecting some serious Stereolab grooves in many sections of ECCO. The middle track "Fine Del Mondo" feels right out of the Stereolab playbook with a Kraut inspired grooviness all decorated with jazzy regalia. Lots of Beatle-esque harmonies in jazz-pop form also find their way into much of the playing time of this new release. A noticeably warm and fuzzy album, ECCO features not only the five members playing the usual rock instrumentation but also includes a whopping 15 guest musicians and vocalists to give the album a larger than life feel.

Laced with a series of ever-changing ideas teased into instantly likable melodic constructs. HOMUNCULUS RES has developed a keen sense of taking pop-infused melodies and twisting them into a digestible prog format which works quite well indeed. Somehow the band has with apparent ease mastered the technique of accessible Canterbury complexities something that requires a major musical mastery which is perhaps why so few dare to tread the sacred Canterbury Scene stomping grounds. Another amazing accomplishment is how well this band has integrated the Italian language into the Canterbury rhythmic flow which is a successful hybridizing effect that sounds closer to the actually classic Canterbury of the 70s even more so than Picchio dal Pozzo.

This new album is actually very fun as it features a bouncy rock that really connects me to the 70s although it doesn't sound anything like other Canterbury bands. The vocals remind me of Pink Floyd or Alan Parsons Project a lot although in Italian. This is one of those joyful almost celebratory albums that excels in the Canterbury whimsical traditions of previous decades. Sicily is a lucky place for having spawned such a wonderful band that has taken England's least tread upon niche of jazz-rock to its own little world of its making. Also at only 50 minutes of playing time it's not too long as albums can be these days. It's very retro in many regards but also feels fresh and updated for the new millennium. Not a masterpiece but an excellent slice of unorthodox Canterbury jazz prog.

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Canterbury Scene bands/artists list

Bands/Artists	Country
DAEVID ALLEN	Australia
AMOEBA SPLIT	Spain
ANTIQUE SEEKING NUNS	United Kingdom
KEVIN AYERS	United Kingdom
BIG HOGG	United Kingdom
THE BOOT LAGOON	United Kingdom
BRAINVILLE	United Kingdom
CARAVAN	United Kingdom
CLEAR FRAME	United Kingdom
COS	Belgium
DE LORIANS	Japan
DELIVERY	United Kingdom
EGG	United Kingdom
THE GHOULIES	United Kingdom
MICHAEL GILES	United Kingdom
GILGAMESH	United Kingdom
GONG	Multi-National
GOWEN - MILLER - SINCLAIR - TOMKINS	United Kingdom
JOHN GREAVES	United Kingdom
NICHOLAS GREENWOOD	United Kingdom
GRINGO	United Kingdom
HATFIELD AND THE NORTH	United Kingdom
HENRYTENNIS	Japan
STEVE HILLAGE	United Kingdom
HOMUNCULUS RES	Italy
HOPPER - DEAN - TIPPETT - GALLIVAN	United Kingdom
HUGH HOPPER	United Kingdom
JAKKO M. JAKSZYK	United Kingdom
THE KENTISH SPIRES	United Kingdom
KHAN	United Kingdom
THE LODGE	United States
MAGIC BUS	United Kingdom
MANNA / MIRAGE	United States
MASTER CYLINDER	United States
MATCHING MOLE	United Kingdom
MILLER & COXHILL	United Kingdom
PHIL MILLER	United Kingdom
MOLESLOPE	Japan
MOOM	United Kingdom
MOVING GELATINE PLATES	France
MR. SIRIUS	Japan
THE MUFFINS	United States
NATIONAL HEALTH	United Kingdom
OCARINAH	France
PANTHEON	Netherlands
PAZOP	Belgium
JOHN G. PERRY	United Kingdom
PICCHIO DAL POZZO	Italy
THE POLITE FORCE	United Kingdom
PIP PYLE	United Kingdom
QUANTUM JUMP	United Kingdom
QUIET SUN	United Kingdom
SHORT WAVE	United Kingdom
RICHARD SINCLAIR	United Kingdom
SOFT HEAP	United Kingdom
SOFT MACHINE LEGACY	United Kingdom
THE SOFT MACHINE	United Kingdom
SOFT MOUNTAIN	Multi-National
SOFT WORKS	United Kingdom
STUBBS	Japan
SUPERSISTER	Netherlands
SUPPLY DEMAND & CURVE	Ireland
TORTILLA FLAT	Germany
TRAVELLING	France
VOLAR�	United States
THE WILDE FLOWERS	United Kingdom
THE WINSTONS	Italy
ROBERT WYATT	United Kingdom
ZOPP	United Kingdom
ZYMA	Germany

4.32 \| 1981 ratings IN THE LAND OF GREY AND PINK Caravan	4.29 \| 988 ratings ROCK BOTTOM Wyatt, Robert	4.29 \| 811 ratings SPACE SHANTY Khan	4.26 \| 1130 ratings RADIO GNOME INVISIBLE VOL. 3 - YOU Gong
4.27 \| 883 ratings HATFIELD AND THE NORTH Hatfield And The North	4.25 \| 1169 ratings IF I COULD DO IT ALL OVER AGAIN, I'D DO IT ALL OVER YOU Caravan	4.28 \| 517 ratings OF QUEUES AND CURES National Health	4.19 \| 1146 ratings THIRD Soft Machine, The
4.22 \| 651 ratings THE ROTTERS' CLUB Hatfield And The North	4.17 \| 869 ratings FOR GIRLS WHO GROW PLUMP IN THE NIGHT Caravan	4.26 \| 319 ratings TO THE HIGHEST BIDDER Supersister	4.14 \| 766 ratings RADIO GNOME INVISIBLE VOL. 2 - ANGEL'S EGG Gong
4.30 \| 190 ratings THE WORLD OF GENIUS HANS Moving Gelatine Plates	4.12 \| 486 ratings THE POLITE FORCE Egg	4.13 \| 455 ratings NATIONAL HEALTH National Health	4.12 \| 468 ratings BUNDLES Soft Machine, The
4.11 \| 497 ratings FISH RISING Hillage, Steve	4.12 \| 367 ratings MAINSTREAM Quiet Sun	4.11 \| 315 ratings PICCHIO DAL POZZO Picchio Dal Pozzo	4.15 \| 241 ratings VIVA BOMA Cos