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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)

Current team members as at 14/02/2014:
Steve (HolyMoly)

Canterbury Scene Top Albums

Showing only studios | Based on members ratings & PA algorithm* | Show Top 100 Canterbury Scene | More Top Prog lists and filters

4.27 | 1179 ratings
4.30 | 568 ratings
Wyatt, Robert
4.27 | 678 ratings
4.29 | 505 ratings
Hatfield And The North
4.28 | 450 ratings
4.24 | 670 ratings
4.21 | 698 ratings
Soft Machine, The
4.19 | 381 ratings
Hatfield And The North
4.15 | 512 ratings
4.29 | 186 ratings
Quiet Sun
4.22 | 256 ratings
National Health
4.10 | 463 ratings
4.13 | 290 ratings
Hillage, Steve
4.24 | 152 ratings
4.07 | 377 ratings
Soft Machine, The
4.12 | 245 ratings
National Health
4.22 | 139 ratings
4.09 | 268 ratings
4.01 | 332 ratings
Soft Machine, The
4.06 | 201 ratings
Picchio Dal Pozzo

Canterbury Scene overlooked and obscure gems albums new

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Picchio Dal Pozzo
Gowen, Miller, Sinclair, Tomkins
National Health
Soft Heap

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Latest Canterbury Scene Music Reviews

 Gazeuse by GONG album cover Studio Album, 1976
3.92 | 277 ratings

Gong Canterbury Scene

Review by steelyhead

5 stars Why to give 5 stars to this album? Because It is the perfect Jazz/Rock Fusion album. So far It is my favourite CD from this group.

It is a brand new group, different Gong, no Daevid Allen, no Steve Hillage but Holdsworth is different in a good way.

Sorry, this is not Canterbury, this is a group on fire with a fenomenal drummer at the helm (just listen to the first song It gives me chills everytime I listen to It).

A solid record from a group who has a lot to offer yet. No silly lyrics, in fact there is no lyrics at all but You will not need them. This is just perfect.

 Playtime by NATIONAL HEALTH album cover Live, 2001
3.70 | 39 ratings

National Health Canterbury Scene

Review by siLLy puPPy
Prog Reviewer

4 stars The third phase of NATIONAL HEALTH can only be found on this live album (their only live album) for no studio album was ever recorded with this lineup despite this being the most stable one of the band's history. Most of the material can be found nowhere else and doesn't really sound like the previous stuff either but we do get some classics like the two parts of "Squarer For Maude." These two live performances take place in France and the US from 1979 but not released until 2001 thanks to the virtuous mining of the past by Cuneiform Records. This lineup includes Alan Gowen (keyboards), John Greaves (bass / vocals), Pip Pyle (drums) and Alain Eckert (guitars).

Although not as brilliant as the first two studio albums, this is nonetheless an outstandingly memorizing listen that brings the band into full jamming mode with lots of emphasis on the fun factor. Expect lots of complex free jazz meets prog rock interplay in a live setting and you'll get the idea of what's going on here. All instrumental affair with scant vocals to be found. At this point the band's days were number and Gowen would die from leukemia in 1981 essentially ending the band. Not a bad way to end as these are some quality recordings that fans of the first two phases will surely dig. Note the lone clappers on the audience you could count on one hand reminding one of the state of this kind of complex music from that time.

 Camembert Electrique by GONG album cover Studio Album, 1971
3.72 | 258 ratings

Camembert Electrique
Gong Canterbury Scene

Review by steelyhead

3 stars This is the work of a group looking their way in the midst of different musical styles. It is not perfect yet but You can hear some good songs in the middle (Fohat Digs Holes In Space). The group boast the best sax player in prog rock (Didier Malherbe) and He is in full form here. So, this is not a total waste but a good CD to have around in case You are tired of the magical trilogy they spawned later. I just cannot stand The Byrds songs here, but this is 1971 and the best is yet to come for this group.
 Fools Meeting by DELIVERY album cover Studio Album, 1970
3.41 | 40 ratings

Fools Meeting
Delivery Canterbury Scene

Review by siLLy puPPy
Prog Reviewer

3 stars Geez those Canterbury folk were a restless bunch. There's always another one shot band that someone put out and this one and only album by DELIVERY is a perfect example of that. It was originally released as Carol Grimes and DELIVERY but has since then dropped Carol from the billing. The band began in 1966 as Bruno's Blues Band and then changed to Steve Miller's DELIVERY and no, not the "Fly Like An Eagle" guy. The band is pigeon-holed into the Canterbury Scene because it features Pip Pyle (Gong, Hatfield, National Heap, In Cahoots, well everybody!) and Phil Miller (National Health, Hatfield And The North, Matching Mole) but really, there is really not much jazz-fusion going on here. This is rooted in 60s psychedelic rock with minor jazzy embellishments. It wouldn't be wrong to think of this as a slightly more progressive version of Jefferson Airplane, Kaleidoscope or even a jazzier take on Big Brother and Holding Company.

I have to say that the music on here is pretty good overall but what really keeps me from totally falling for this album is the vocals of Carol Grimes. She just doesn't DELIVER the goods for me. She sings her heart out but her range just doesn't match the brilliance laid out by the musicians involved. Throughout the album I keep finding myself wishing Grace Slick, Janis Joplin or even Dorothy Moskowitz (of The United States Of America) would be singing instead. They all had intense passionate vocal styles and a much greater range. When the music plays for a while on this release without vocals I find myself liking it much more but then Carol starts singing and it ruins it for me. Sorry Carol, I just can't get into your style :( If by chance you like the vocals on this album you will like it a lot more than me. It really is the only reason I am giving this 3 stars.

 I See You by GONG album cover Studio Album, 2014
3.88 | 39 ratings

I See You
Gong Canterbury Scene

Review by Lear'sFool

5 stars Well, past the three "Expresso" era albums, there has been a steady trickle of albums by various bands part of the Gong collective, and for the longest time none were better than decent. Imagine my surprise at the release of "I See You", where in 2014 we have a new Gong masterpiece. The Divided Alien has brought together old friends and new for a new record that is able to stand near the six classics of the Gong Mythos. The album is excellent, psycadelic leaning Canterbury goodness lasting a whole blissful hour. The music sounds like the band picking back up on the Radio Gnome era sound right off of the fusion leaning trilogy, handing us a soup of grooves and jokes as if it was 1973 all over again. There isn't too much more to say, as these aren't so much groundbreaking or retreading, just high quality tracks that take the style we all have nostalgia for and putting it into new songs. More than worth a listen, this is Allen's and Gong's homecoming tea party.
 Magick Brother by GONG album cover Studio Album, 1969
3.39 | 118 ratings

Magick Brother
Gong Canterbury Scene

Review by siLLy puPPy
Prog Reviewer

4 stars After Daevid Allen left Soft Machine he spent a few years continuing his beatnik lifestyle traveling around Europe and getting into mischief before finally recording his first album under the GONG moniker. Despite the band name this is more of an Allen album with equal billing given to Gilly Smyth who makes her debut on this first GONG album as the trippy poet and space whisperer who graced not only the GONG albums of the Allen era but also many of the solo offerings from band's members. MAGICK BROTHER has also been released as MAGICK BROTHER, MYSTIC SISTER and was released early in 1970. The album is really an accumulation of musical ideas that had been with Allen since leaving Soft Machine and since those years took place in the tumultuous late 60s it is no surprise that this album has its sound firmly rooted in 60s psychedelia and the lyrics in that same idealist Utopian vision of the hippie movement.

This is in fact an interesting crossroads for Allen's career where he finally got to put to tape all of those latent ideas that didn't make it into Soft Machine that fully embraced the most psychedelic aspects that rock had to offer at that time and the more progressive ideas that were finding their way into the world. This album came out after all those groundbreaking releases of 1969 and the musical landscape was changing quickly but Allen was finding away to keep those space rock sounds going and evolving them into the next phase. On MAGICK BROTHER you can hear hippie peace protest songs "Rational Anthem" next to fully fueled freakouts that sound more like something on a Krautrock album and would make contemporary trippers like Pink Floyd proud. My guess is that many mind-altering substances were consumed in the making of this one. You think?!!

The album is divided into two sides. The first is "Early Morning" and the second is "Late Night" but to be honest I can't really tell any difference between the two as they both contain hippie folk type songs and freaked out bizarreness. This is one that I wasn't impressed with upon first listen coming to it after all the better releases that followed but it has grown on me and is in fact an interesting little album in its own right. I would not recommend skipping this one since it has a charm all its own and provides a glimpse of GONG's origins. The only problem I have is some of the folkier songs are a little lackluster and could have used a little more fine tuning but overall it doesn't diminish my listening experience. 3.5 rounded up

 Matching Mole  by MATCHING MOLE album cover Studio Album, 1971
3.61 | 168 ratings

Matching Mole
Matching Mole Canterbury Scene

Review by apps79
Special Collaborator Neo Prog Team

3 stars One of the most representative bands of the Canterbury movement, Matching Mole paraphrases the French translation for Soft Machine (''Machine Molle'') and that's cause the man behind this project was Robert Wyatt, who had left Soft Machine in 1971 and launched his new group in October of the same year along with Quiet Sun's bassist Bill MacCormick.He made a great steal after proposing the keyboard place to Caravan's Dave Sinclair, while the line-up became complete with the addition of Phil Miller on guitar, formerly of Carol Grimes and Delivery.Between December 71' and February 72' they recorded their eponymous debut at CBS Studios in London and the album was released two months later (of course on CBS).

The opening side alone it's simply the absolute example of what Canterbury music was all about and, despite not being absolutely convincing or essential, it delivers a great deal of interesting music.From the smooth opener ''O Caroline'' and its ballad atmlsphere, where the star of Wyatt shines on vocals, drums and Mellotron, and the mellow, romantic followers ''Instant pussy'' and ''Signed curtain'' with the slight jazzy spices and the melancholic British Pop nuance to the abstract sound of ''Part of the dance'', the basic elements of the movement are all taped in here.Actually ''Part of the sound'' is quite long to present the experimentation of the group (and other local bands of the era) with its odd rhythms, jamming solos on organ and piano and powerful psych colors, an all instrumental journey of intense and loose Jazz Rock.The flipside doesn't differ much, except for being instrumental, for example ''Instant kitten'' is yet another solid instrumental proposal of psych-tinged Canterbury Fusion with full-blown electric piano, sparkling guitar work and even some notable, depressing flute strings at the end, one of the best cuts on the album.''Dedicated to Hugh, but you weren't listening'' follows the same vein, a collection of laid-back and fiery Fusion colors, but ''Beer as in braindeer'' is pretty experimental with instrumental weirdness on Avant-Garde-like percussion, organ and guitar distortions.''Immediate curtain'' is a serious closer, a long, orchestral, Mellotron-dominated outro with very discreet guitar experimentation in the background and overall a very cinematic, dark atmosphere.

This one contains the free spirit of Canterbury music in full display.The mood for experimental compositions, the loose jazzy techniques and the leftovers of British Psychedelic Pop.Not absolutely rewarding, but definitely a great document of the early-70's days in Kent.Warmly recommended.

 To the Highest Bidder by SUPERSISTER album cover Studio Album, 1971
4.24 | 152 ratings

To the Highest Bidder
Supersister Canterbury Scene

Review by friso
Prog Reviewer

4 stars Supersister - To the Highest Bidder (1971)

Among the earliest progressive rock groups we find the Zappa and Soft Machine influenced Dutch band Supersister, often listed under Canterbury because of its stylistic simularities. The band is however a conservatory band from The Hague. The young band, which recorded their debut in their teens (just look at the cover of 'Present from Nancy' 1970), led by keyboardist Robert Jan Stips has released three albums which I really like, this being the second and perhaps most advanced.

Supersister has a unique style you'll come to recognise instantly, without it being particularly consistent. Their finest compositions have the fast jazzy drums of Marco Vrolijk (often in odd time signatures), who always finds a way to get an exciting feel in the music. The keyboards and distorted organs often take the lead with fierce fast themes in which both darker and lighter atmospheres appear, yet whatever the emotional effect of the music is - it still sounds highly optimistic. Supersister is about joy. The Flute of Sacha van Geest takes another leading role during melodic pessages. Ron van Eck, on bassguitar, keeps up the pace and gets involved melodicly quite often. The dopey vocals of Robert Jan Stips add to the loose atmospheres and playfulness of the music.

'A Girl Named You' is classic up-tempo supersister; heavy, jazzy, rockin' and silly at times. 'No Tree will Grow' is symphonic ballad type track, quite unique in the Supersister discography. 'Energy (Out of the Future)' is a long track with all Supersister elements, perhaps a bit more avant-prog then most of their work. 'Higher' is a sympathetic, yet silly song. Just how a Supersister album should end.

Conclusion. This is among the best progressive rock records from seventies Netherlands and it should be listened to by everyone interested in Canterbury, eclectic prog and jazz-rock. Most of my favorite prog records are dead serious, but Supersister really managed to get the fun into prog. Four and a halve stars!

 Continental Circus by GONG album cover Studio Album, 1971
3.04 | 101 ratings

Continental Circus
Gong Canterbury Scene

Review by Mellotron Storm
Prog Reviewer

4 stars Daevid Allen was well aware that making a soundtrack for a film was one way to get some extra cash in the early days, much like PINK FLOYD did early in their careers. Of course Allen was part of SOFT MACHINE in the mid sixties playing with FLOYD at the UFO Club and no doubt he followed PINK FLOYD's career. The film "Continental Circus" was about the Grand Prix Motorcycle circuit and in particular Australian Jack Findlay who had a great career of 20 years which is incredible since he wasn't part of a sponsored team but privately funded. We get sort of a stripped down version of GONG here of five members with Gilli Smyth taking care of almost all of the compositions and adding her space whispers as well. At around 34 minutes this certainly was a full length album back in the day and it contains four tracks.

"Blues For Findlay" has such an infectious melody with vocals, a relentless beat from Pip Pyle, and it's very much guitar driven. The lyrics are lame or silly but hey it's GONG and they are known for this. You can't help but move to the music here as the vocals come and go. Check out the prominant bass before 6 minutes. The drum work and guitar continue to impress. We get some spacey guitar before 8 1/2 minutes as it settles back some then it kicks back in late. "Continental Circus World" is the only miss really. Although this track which splices bits from the film along with music does give us some context to what the movie is about, and at 4 minutes it's by far the shortest track. We get lots of motorcylce sounds and bits where the drivers speak about different things.

"What Do You Want?" is my favourite and it starts with a bass solo(nice) as light drums join in followed by spacey guitar sounds from Allen. I love this stuff. Vocals from Daevid 6 minutes in as the trippy instrumental sounds continue although it is softened here. The guitar then becomes more aggressive and we get backing vocals from Gilli that are GONG 101. Sounds like sax after 7 minutes that will continue to the end as the vocals stop. The guitar is the focus though and we get brief vocals to end it. "Blues For Findlay-Instrumental" ends it and is self explanatory really although while we get the same beat and melody the guitar is spacey this time throughout, plus we get sax on this one.

Like my buddy Tom Ozric I can't give anything less than 4 stars as we get three long tracks that in my opinion are as good as any GONG tracks that will follow in their career. Mind you I really like when bands jam in a spacey and psychedelic manner.

 The Polite Force by EGG album cover Studio Album, 1970
4.09 | 268 ratings

The Polite Force
Egg Canterbury Scene

Review by FragileKings
Prog Reviewer

3 stars My progressive rock education has finally brought me around to the Canterbury scene this year. It began with hearing Dave Stewart on Bill Bruford's "One of a Kind" album and then led to the purchase of Hatfield and the North's "The Rotter's Club", also featuring Dave Stewart. And now I have come to Egg. Also featuring Dave Stewart. It was a tough choice deciding which of the three Egg albums to buy. Reviews here are favourable to all three, and listening to a few samples on YouTube had me thinking pretty much any album would be good. However, upon hearing the intro to "A Visit to Newport Hospital" I felt there would surely be something here for me to dig. That slow heavy music with a fuzz-toned organ is just too much like proto-doom metal for me to resist.

I feel the music on this album can be divided into three categories. One category is the lighter jazz feel that can be heard in the main song sequence of "A Visit to Newport Hospital" or "Long Piece No. 3 - Part 2". This music is very accessible with easy-on-the-ears sounds and smooth, light music. Expect some pretty organ and lovely piano.

The second category would be the more aggressive sounds of the intro to "A Visit to Newport Hospital" with the fuzz-toned organ or the intentional dissonance of "Long Piece No. 3" Parts 1, 3, and 4. The drums are more intense with deliberate enforcement of odd meters, and the bass rolls and grooves behind an array of keyboard sounds. This is where I feel the music deserves its progressive moniker. It's bold and gutsy, adventurous. It stays on the track while leaning far over. It's fun without being too crazy.

The third category must then be the experimental one. This is mostly to be found in "Boilk". My running commentary on this piece is:

"Running water for 39 seconds before a solitary organ note fades in and the water fades out. Some tubular bells. Very mellow like a cold winter evening on a desolate street when the snow is just starting to fall. Backwards cymbals? Starts getting weird like Pink Floyd's "Ummagumma". Our winter street is all misshapen and turning into a psychotic vision from the Outer Limits. Not my thing. Too avant guard. No proper song. Backwards music and voices. Just studio experimentation. Well, good for them. Now let's get back to something easier that sounds more like music. Wow! A stream of distortion static. Someone's playing with the oscillator. Ah, saved by a cheerless church organ."

"Long Piece No. 3" Parts 1 and 2 also include some of this stranger music. From my notes: "Now an intentionally mind-numbing performance on piano, organ and drums. Sounds mechanical, like a machine at work on the drums. I picture a bunch of black suited-musos with short cropped hair and thick, black-framed glasses stroking their goatees and subtlety nodding their approval." That's Part 1. Part 2 also includes some playing with oscillator knobs but that is situated between more enjoyable music.

A nod must go to the limited lyrics, which appear only in the first two tracks. The singing style is very Canterbury: English accent, not so talented vocals, and lyrics containing dry humour. From "Newport Hospital", a song about their early days as a four-piece in a band called Uriel: "We spent our time avoiding skinheads and the law / It was a freedom that we'd never felt before / And now we're doing this instead". "Contrasong", a fun song based on an interesting time signature and featuring trumpet and sax, includes a remark about pictures of horrible atrocities which were published in order to increase the paper's circulation.

I personally do not take to the weird experimentation parts but the rest of the album I rather like. I doubt I will be buying any more Egg albums. This one is enough for me. Glad I bought it, though. "A Visit to Newport Hospital" is my favourite track. Not an album to be enjoyed by all but a good example of a trio that were mixing jazz with rock and who were trying to branch out into new territory. The spirit of progressive music indeed. Almost four stars, but rounded down.

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Canterbury Scene bands/artists list

Bands/Artists Country
KEVIN AYERS United Kingdom
THE BOOT LAGOON United Kingdom
BRAINVILLE United Kingdom
CARAVAN United Kingdom
CLEAR FRAME United Kingdom
COS Belgium
DELIVERY United Kingdom
EGG United Kingdom
THE GHOULIES United Kingdom
MICHAEL GILES United Kingdom
GILGAMESH United Kingdom
GONG Multi-National
JOHN GREAVES United Kingdom
GRINGO United Kingdom
STEVE HILLAGE United Kingdom
HUGH HOPPER United Kingdom
JAKKO M. JAKSZYK United Kingdom
KHAN United Kingdom
THE LODGE United States
MATCHING MOLE United Kingdom
MILLER & COXHILL United Kingdom
PHIL MILLER United Kingdom
MOOM United Kingdom
THE MUFFINS United States
PANTHEON Netherlands
PAZOP Belgium
JOHN G. PERRY United Kingdom
PIP PYLE United Kingdom
QUANTUM JUMP United Kingdom
QUIET SUN United Kingdom
SOFT HEAP United Kingdom
SOFT MOUNTAIN Multi-National
SOFT WORKS United Kingdom
VOLARÉ United States
ROBERT WYATT United Kingdom
ZYMA Germany

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