Progarchives, the progressive rock ultimate discography


A Progressive Rock Sub-genre

From, the ultimate progressive rock music website

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:
(Edition 3, Aug 2009)

Current team members as at 19/4/2020:
George (historian9)
Scott (Evolver)
Phil (Man With Hat)
Mike (siLLy puPPy)
Maciej (HarryAngel746)

Canterbury Scene Top Albums

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

4.30 | 1818 ratings
4.28 | 919 ratings
Wyatt, Robert
4.28 | 824 ratings
Hatfield And The North
4.25 | 1076 ratings
4.25 | 1057 ratings
4.27 | 750 ratings
4.19 | 1051 ratings
Soft Machine, The
4.26 | 466 ratings
National Health
4.21 | 597 ratings
Hatfield And The North
4.16 | 777 ratings
4.14 | 716 ratings
4.26 | 281 ratings
4.13 | 437 ratings
4.12 | 453 ratings
Hillage, Steve
4.13 | 414 ratings
National Health
4.29 | 165 ratings
Moving Gelatine Plates
4.13 | 332 ratings
Quiet Sun
4.09 | 394 ratings
Soft Machine, The
4.06 | 532 ratings
Soft Machine, The
4.16 | 225 ratings

Canterbury Scene overlooked and obscure gems albums new

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

Miller, Phil
Moving Gelatine Plates
Muffins, The
National Health

Latest Canterbury Scene Music Reviews

 At Last I Am Free by WYATT, ROBERT album cover Singles/EPs/Fan Club/Promo, 1980
4.04 | 4 ratings

At Last I Am Free
Robert Wyatt Canterbury Scene

Review by Matti
Prog Reviewer

4 stars I had found the early Soft Machine albums in my late teens, but my introduction to Robert Wyatt's solo music a bit later was a compilation disc Nothing Can Stop Us (1982). At the time -- roughly 3 decades ago -- I used to tape the best songs from the CD's I borrowed from libraries, and the mentioned, overall rather poor compilation contained three songs that I became pretty fond of. One was Elvis Costello's composition 'Shipbuilding', and also the other two, the ones on this single, are covers.

I learned only now by googling that 'At Last I Am Free' was originally recorded in 1978 by the pop group called Chic. Truth to be told, I always imagined the song to be Wyatt's own, since his version is so heartfelt and charming. Without a doubt Chic's version is radically different, but Wyatt really translated the song into his own unique style. The tempo is very relaxed and the spacey sound has jazzy elegance. Piano is played by Frank Roberts and double bass by Mogotsi Mothle (never heard of them). It's a very nice and dreamy song to my ears, but if you're not that much into slow and calm vocal music, you may get bored by it.

'Strange Fruit' is an older and notably more famous song. The shocking, metaphorical lyrics originated as a poem ('Bitter Fruit') published in January 1937 in "The New York Teacher" union magazine, written by Jewish-American writer, teacher and songwriter Abel Meeropol under his pseudonym Lewis Allan. The poem was a protest against lynchings of black people. Sometime later Meeropool wrote the music to his poem, and the song was at first performed by his wife. Someone introduced 'Strange Fruit' to the legendary jazz vocalist Billie Holiday who performed the song for the first time at Café Society in 1939. The song soon became one of Lady Day's best known numbers. It's indeed a song to give shivers down the spine, mainly due to the strong lyrics. Robert Wyatt cannot compete with Billie Holiday as a performer of this song, but he does a decent job with a ripped down arrangement.

 In the Land of Grey and Pink by CARAVAN album cover Studio Album, 1971
4.30 | 1818 ratings

In the Land of Grey and Pink
Caravan Canterbury Scene

Review by Lieutenant_Lan

5 stars In the Land of Grey and Pink released in 1971 and is the third studio album by English band Caravan. This album is one of the most well received in the Canterbury Scene, and for good reason. It combines a lot of sounds really well. Psychedelic, folk, jazz, maybe a little symphonic. The instrumentation is good, production is great, lyrics are fun, and no bad songs on the album. Personally I would recommend this to anyone just getting into prog because its a very easy listen, great songs, and mixes a lot of sounds. I will give this album a 5/5. An essential in my book.
 Banana Moon by ALLEN, DAEVID album cover Studio Album, 1971
3.19 | 60 ratings

Banana Moon
Daevid Allen Canterbury Scene

Review by mental_hygiene

3 stars This is a very strange album that's in many ways dissapointing and intriguing. What brought me to this was my general attraction to canterbury solo careers. Robert Wyatt, Kevin Ayers, Steve Hillage, etc, there's a lot of big names to choose from. If that wasn't enough, there's the fact that this guy who lead the original lineup of Soft Machine was a member of the obscure garage boink music group Gong. Daevid Allen spells his name weird, so I thought his solo album would be just as pleasant or astounding. The cover art is really sick, and probably the only remotely polished element of this release.

I really love Ween, and one of my favorite Ween albums is GodWeenSatan. If you listen to the first song on this album, Time of Your Life, you might think that this album is absolutely miles away from GodWeenSatan or the Pod. I really love Frank Zappa, and one of my favorite Zappa albums is Joe's Garage. If you listen to the second song on this album, you might think that this album is absolutely miles away from Joe's Garage or We're Only in It for the Money. I really love Daniel Johnston, and one of my favorite Daniel Johnston albums is Hi, How Are You? Finally once you reach the song All I Want is Out of Here, you begin to understand where Banana Moon becomes relevant with all of the prior names. The album takes a complete 180 into absurity and chaos. I don't know if this album was at all relevant or influential to any of the previously mentioned names, but I hear a very clear connection. It is self expression by being as absolutely chaotic as possible.

Daevid Allen tricks us into believing that he rocks and/or rolls. Or that he is secretly a genius composer songwriter. I think the dude just had so much fine while recording this. At the same time you could easily write this off as complete gibberish, there's a charm to some of the droning proto-noise rock tracks towards the end. And His Adventures in the Land of Flip is probably the highlight of this album for me. Some might find it unbearable, but unbearable psychedelia is what I thrive on sometimes.

Most of all, how did this album get made? Gong is pretty out there for the early 70s, but I feel like the distinct aura of some of these songs was only possible in a DIY environment. See: all of the above mentioned DIY albums. Yes, I count Frank Zappa as a DIY musician, that's a different tangent for another review.

To end this review on a more serious tone, this album is really unbalanced. The original issue sells the first side as more of an accessible post-soft machine collection of songs, which range from alright to really mediocre. The second side is the freakout, which I think is the only consistent unit of energy on this record. I would absolutely come back to that side of Banana Moon, but as an album, I'm not sure if it's good. However, for the sheer daringness of Allen, I feel like this deserves to be counted as 3 stars.

 The Civil Surface by EGG album cover Studio Album, 1974
3.90 | 223 ratings

The Civil Surface
Egg Canterbury Scene

Review by Beautiful Scarlet

5 stars Best Egg album.

An even affair. Germ patrol and Wind Quartet are very pleasant exercises that provide welcome respite's in-between the albums "meat". While prelude, eneagram, nearch and wring out the ground are wonderful Egg compositions. Honestly though what gives this album an edge over it's compatriots is it's absence of flaws.

Unlike the debut which has a mixed bag of vocal songs on the first side, Civil Surface posseses only excellent vocals a la I Will Be Absorbed/A Visit To Newport Castle on the magnificent Wring Out The Ground (Slowly Now). Unlike Polite Force there is no maddening Boilk (not even a bad song just meh, which is a flaw I can't overlook for a five stars).

Ultimately I love egg and the best Egg album is not best by a lot.

it's like getting an 100% on a test versus a 95%.

 Third by SOFT MACHINE, THE album cover Studio Album, 1970
4.19 | 1051 ratings

The Soft Machine Canterbury Scene

Review by A Crimson Mellotron

5 stars Soft Machine's third album, wittily named 'Third' was released in June 1970, and it is certainly one of the most radical shifts in style that any band could display at that time (possibly comparable to Deep Purple's from the same year, or King Crimson's perpetually changing sonic perspectives). It is also the first studio record on which there are four full-time band members (excluding, of course, the additional musicians and/or collaborators); and is also the longest record released by them, clocking in at 75 minutes, famously portrayed by the four long tracks taking up one side of the double LP.

Bedazzling, bold, manic, eccentric, and unorthodox, 'Third' is the album that marked the metamorphosis of Soft Machine from a psychedelic Canterbury Scene outfit to an unstoppable jazz monster - described as progressive rock, electronic rock, and jazz, this album is worth hearing every minute with full attention, always eagerly expecting the next grand shift, the next utterly satisfying and bewildering moment; almost like it is a different band, when compared to the pair of albums that came before 'Third', Soft Machine manage to break every bit of expectation, and instill inside the stoked listener a sense of havoc!

To the already-existing line-up of Mike Ratledge, Hugh Hopper, and Robert Wyatt, the listener has to know about the presence of their new member Elton Dean, playing both the alto saxophone and the saxello on three of the four epic tracks. The additional personnel consists of Lyn Dobson (flute, soprano sax), Nick Evans (trombone), Jimmy Hastings (flute, bass clarinet), and Rab Spall (violin).

Kicking off the album is the absolutely hazardous and unsettling instrumental live recording of 'Facelift' - a composition so vigorous and lively, it was further edited with loops and speed changes in the studio. It is so starkly different from everything else they did before, so menacing with the aggressive and protruding saxophone-keyboard interplay; brilliant rhythm sections and strong dependence on the loud-soft effects. Adding to the aforementioned qualities of the composition is the quality of the recording itself, quite harsh, unpolished and hissing; the editing is patchy and imperfection seems to be the fifth element that adds to the vitalité of 'Third'.

On side two, the listener will find 'Slightly All the Time', another very jazzy but more somber track, a sort of a 'patchworked' composition from shorter instrumentals written by Ratledge and Hopper, a very pleasing track.

Side three contains the only vocal composition, 'Moon in June', written by Wyatt; the only song on 'Third' reminiscent of their past psychedelic sound, with lyrics derived from songs from their previous studio recordings, resulting in another very enjoyable experience. This happens to be the only song that does not feature Elton Dean, and the only one that cannot be classified as jazz.

Finally, on side four, there is another mighty instrumental - 'Out-Bloody-Rageous', a very saxophone-oriented composition bookmarked by the slightly exhausting electronic soundscapes and tape loops, composed by Ratledge.

'Third' is one of the 70s albums that leaves the listener in awe and excitement and one of the most impressive achievements of the Canterbury Scene!

 Volume Two by SOFT MACHINE, THE album cover Studio Album, 1969
4.06 | 532 ratings

Volume Two
The Soft Machine Canterbury Scene

Review by A Crimson Mellotron

4 stars 'Volume Two' is the second album released by Canterbury-native Soft Machine (or The Soft Machine, as they were billed at the time of the album's release). This record was released almost a year after their debut one, more specifically in September of '69. Stylistically very similar to their first album, 'Volume Two' is very psychedelic, very humorous, very extravagant and unusual, quirky, frantic, and compelling. This time, however, to the trio of Mike Ratledge, Hugh Hopper and Robert Wyatt, and additional musician is added and this is, of course, the brother of Hugh Hopper - Brian Hopper on soprano and tenor saxophone, adding for the first time to their psychedelic sound a flavor of jazz.

This happens to be the band's shortest album, with a total length of 33 minutes, but also their most fragmented one with its seventeen tracks. As on the previous album, the songs on each of the two sides seem to form larger, longer pieces, beautifully named 'Rivmic Melodies' and 'Esther's Nose Job', respectively for sides one and two.

For me, there has always been almost nothing separating 'Volume Two' from 'Volume One'; these two records really sound like the two halves of a big psychedelic, jazzy, mad album (Almost like the one that will come next - 'Third' but this is another story). Very 60s and very English, I consider 'Volume Two' one of the essential Soft Machine releases. The witty song titles, the multiple references sprinkled across the album, the memorable melodies, and the moments of insane experimentation with instrumental passages are all prerogatives for a very strong Canterbury Scene album!

 The Soft Machine by SOFT MACHINE, THE album cover Studio Album, 1968
4.02 | 583 ratings

The Soft Machine
The Soft Machine Canterbury Scene

Review by A Crimson Mellotron

4 stars Soft Machine were formed in mid-1966 in Canterbury, one of the two bands (alongside Caravan) to be the shapes to come out of the Wilde Flowers, a psych-pop/rock band from the same place. Upon their formation, The Soft Machine (as they were initially billed as) consisted of drummer and vocalist Robert Wyatt, bassist and vocalist Kevin Ayers, organist/keyboardist Mike Ratledge, and guitarist Daevid Allen.

An early UK underground act, the band would really go on to become an underground legend, never achieving impressive commercial successes. However, their cult following is what I believe to be the reason for this enigmatic band's activity - releasing records in four different decades.

Their self-titled first album (also referred to as 'Volume One' in later reissues) was released in late 1968 and represents their all-out psychedelic music collage, spread across thirteen tracks with lengths ranging from 50 seconds to 7 minutes.

As already mentioned, the earliest Soft Machine sound is rooted in the tradition of the psychedelic rock, and 'Volume One' is reminiscent here and there of bands like Vanilla Fudge or The Jimi Hendrix Experience. However, the music is very English, very soothing sometimes, and very frantic on other occasions; It is evident that humor and eccentrics are central to the band's early output. Not only this, the songs are quite memorable (And this, I believe, is one of the significant traits of the Canterbury Scene bands) and very experimental in nature.

As it can be heard in the following album as well, the songs on each side of the album seem to constitute two larger tracks. Here, on side one, the listener will find some very recognizable tracks by the Softies, like 'Hope for Happiness', a 'model' psych-rock song, 'Joy of a Toy', a very quirky instrumental transition, 'So Boot If at All', the longest song on their debut release and an extravagant proto-prog bonanza.

Then on side two there are some seminal Soft Machine compositions, like 'Lullabye Letter', 'We Did It Again' and 'Why Are We Sleeping', which could easily be mistaken for a Vanilla Fudge song, alongside the shorter more interlude-like pieces.

Overall, this is a very impressive and important first step in this legendary band's history - an album that is unique in its own way, compelling in its presentation, and memorable in every sense.

 Cruel But Fair by HOPPER - DEAN - TIPPETT - GALLIVAN album cover Studio Album, 1977
3.41 | 16 ratings

Cruel But Fair
Hopper - Dean - Tippett - Gallivan Canterbury Scene

Review by Mellotron Storm
Prog Reviewer

3 stars Well if your into Avant Jazz this might be worth a listen. Avant Jazz mainly based on Dean's insane sax and saxello work but even Tippett at times. A four piece with three legends and sadly all three of them are gone including Hugh Hopper on bass, Elton Dean on sax and saxello and Keith Tippett on piano. Lastly we get Joe Gallivan on drums and synths. This was recorded at The Basement studios in Oslo, Norway surprisingly in October of 2006 the year Elton passed, Hugh in 2009.

Gallivan has never been a favourite drummer of mine by any stretch and unfortunately his electronics in my opinion take away from the music at times. He and Elton composed "Jannakota" and it's solely sax and synths. I know I sound like a complainer but I wish Tippett used the electric piano more. He sounds so good on my favourite track "Square Enough" after 4 1/2 minutes when the song changes. Sax just before 5 minutes and he gets quite dissonant at times as this plays out.

The closer "Soul Fate" has a catchy beat with piano and bass as the sax joins in. Elton is the wildcard here as he takes this tune into Avant territory. "Echoes" composed by Tippett doesn't do much for me. I'm surprised how sparse and mellow it is for the over 8 1/2 minute duration. "Seven Drones" composed by Hopper is the opener and my second favourite. Again Dean is fairly creative here on his instrument. So run for the hills! It's like the piano, drums and sax start out all playing a different song. That changes 4 minutes in as it settles and becomes melodic. Big bass lines from Hugh too. It's turning Avant again after 6 minutes but it's kind of mellow over the final minute.

So a good album but this is more about it not being my thing music-wise.

 Golf Girl by CARAVAN album cover Singles/EPs/Fan Club/Promo, 1971
3.45 | 12 ratings

Golf Girl
Caravan Canterbury Scene

Review by mohaveman

4 stars These may not be the most progressive songs that Caravan ever put out but I love them. Both are shorter songs from their 3rd album, (maybe their best one), THE LAND OF GREY AND PINK. Kinda poppy and whimsical, but fun, with classic Caravan beats and lyrics. I would even say that "Golf Girl" is a tad naughty with double meanings. And anything with Sinclair's soothing voice always draws me in. The drumming always makes my toes tap along.. For a great nostalgic experience, check out the Youtube video of the guys doing Golf Girl and Winter Wine on German TV's Beat Club in 1971. Amazing old trippy special effects and everything...even some lyric changes. While not essential, especially if you own the complete album, I still find these 2 tunes absolutely enjoyable listens. 4 stars.
 I'm A Believer by WYATT, ROBERT album cover Singles/EPs/Fan Club/Promo, 1974
3.92 | 5 ratings

I'm A Believer
Robert Wyatt Canterbury Scene

Review by Matti
Prog Reviewer

4 stars 20-Year Chronological Run-Through pt. Twelve: 1974.

On 1 June 1973 Robert Wyatt fell out from a window at a birthday party and was paralyzed from the waist down. It was the end of the Matching Mole band project, but a beginning of a new phase. The much praised album Rock Bottom (released in June 1974) shows that Wyatt re-invented himself as a musician and songwriter. Two months later he released this single. Electric guitar and violin on both songs are played by Fred Frith (Henry Cow). Wyatt plays keyboards, and on bass is Richard Sinclair (Caravan, Hatfield and the North).

'I'm a Believer' is a song written by Neil Diamond and it was a No. 1 hit for The Monkees in 1966. Wyatt's version, produced by drummer Nick Mason of Pink Floyd, reached No. 29 in the UK chart. The lively version is both faithful enough in the spirit to the original and truly Wyatt's and his backing band's own interpretetation. It also features Dave MacRae (Nucleus) on piano.

'Memories' was written by bassist Hugh Hopper in the mid-60's for The Wilde Flowers, the proto band of the whole Canterbury scene; Soft Machine and Caravan were founded on its ashes. I'm not familiar with other versions (including one by Soft Machine) of this song, but Wyatt's slow version is beautiful. Frith's violin is a wonderful additional element in it. Happily I now realize that I've heard a fairly good live version of 'Memories' in a private prog mini festival with my friends a few years ago (and I also have the gig taped and burnt on a cd-r).

This is an excellent individual single. Both songs were ten years later contained on a 4-track ep, and therfore are included also in Wyatt's 2-disc compilation album Eps (1999).

Data cached

Canterbury Scene bands/artists list

Bands/Artists Country
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
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
MAGIC BUS United Kingdom
MANNA / MIRAGE 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
SHORT WAVE United Kingdom
SOFT HEAP United Kingdom
SOFT MOUNTAIN Multi-National
SOFT WORKS United Kingdom
VOLARÉ United States
ROBERT WYATT United Kingdom
ZOPP United Kingdom
ZYMA Germany

Copyright Prog Archives, All rights reserved. | Legal Notice | Privacy Policy | Advertise | RSS + syndications

Other sites in the MAC network: — jazz music reviews and archives | — metal music reviews and archives

Donate monthly and keep PA fast-loading and ad-free forever.