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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Canterbury Scene Top Albums

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

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4.32 \| 2105 ratings IN THE LAND OF GREY AND PINK Caravan	4.29 \| 879 ratings SPACE SHANTY Khan	4.27 \| 1190 ratings RADIO GNOME INVISIBLE VOL. 3 - YOU Gong
4.25 \| 1236 ratings IF I COULD DO IT ALL OVER AGAIN, I'D DO IT ALL OVER YOU Caravan	4.26 \| 1042 ratings ROCK BOTTOM Wyatt, Robert	4.25 \| 930 ratings HATFIELD AND THE NORTH Hatfield And The North
4.28 \| 552 ratings OF QUEUES AND CURES National Health	4.20 \| 1197 ratings THIRD Soft Machine, The	4.19 \| 923 ratings FOR GIRLS WHO GROW PLUMP IN THE NIGHT Caravan
4.21 \| 692 ratings THE ROTTERS' CLUB Hatfield And The North	4.26 \| 345 ratings TO THE HIGHEST BIDDER Supersister	4.14 \| 806 ratings RADIO GNOME INVISIBLE VOL. 2 - ANGEL'S EGG Gong
4.30 \| 209 ratings THE WORLD OF GENIUS HANS Moving Gelatine Plates	4.13 \| 504 ratings BUNDLES Soft Machine, The	4.13 \| 480 ratings NATIONAL HEALTH National Health
4.12 \| 505 ratings THE POLITE FORCE Egg	4.11 \| 532 ratings FISH RISING Hillage, Steve	4.12 \| 391 ratings MAINSTREAM Quiet Sun
4.11 \| 333 ratings PICCHIO DAL POZZO Picchio Dal Pozzo	4.03 \| 628 ratings VOLUME TWO Soft Machine, The	4.14 \| 251 ratings VIVA BOMA Cos

Canterbury Scene overlooked and obscure gems albums

Random 3 (reload page for new list) | As selected by the Canterbury Scene experts team

NATIONAL HEALTH
National Health

THE BRUISED ROMANTIC GLEE CLUB
Jakszyk, Jakko M.

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

Latest Canterbury Scene Music Reviews

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

Studio Album, 1970

4.25 | 1235 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 A Crimson Mellotron
Prog Reviewer

With a compositional sophistication on full display and an array of compelling tunes, right after being signed by a new label, Caravan released their second studio album 'If I Could Do It All Over Again...' in September of 1970, with the record becoming one of the all-time classics of the Canterbury scene. Following up on the band's playful psychedelic-pop debut, this release seems much more like an ode to innocence and boyhood perhaps, yet it exhibits a much more progressive approach to the various pieces of music on here, ranging from minute-long interludes to long and winding jazz-rock instrumental bonanzas. Of course, there is an eclecticism and an ingenuity to this album, as it all seems quite experimental, daring and somewhat provisional, with the music here paving the way for future recordings like 'Nine Feet Underground' or 'L'Auberge du Sanglier'. Narrowing down the psychedelic elements and expanding their musical vocabulary with jazzy tropes, Caravan had delivered a promising and expansive work very early on in their career.

The lineup featured here is the same as on the band's debut album, yet the musicianship and the chemistry between the band members seems ameliorated by far, as one could tell while inhabiting the headspace of the gorgeous arrangements here, always sufficiently elaborate but never really technically pretentious or overindulgent. There are also several catchier tunes, the "remnants" of that brilliant debut album - just breathe in the laid-back euphemisms of the opening title track. An interesting song lulls gently for eight good minutes in the face of 'And I Wish I Were Stoned', while the organ-heavy 'As I Feel I Die' works excellently and still sounds quite cerebral, as opposed to the outdated soundscapes of the preceding song. A 10-minute mini-suite closes off side one, this one is a less successful patchwork of sounds. 'Hello Hello' by Richard Sinclair is a fairly good pop number, while the centerpiece here is the gargantuan 14-minute jazz-rock suite 'Can't Be Long Now', simply capturing the band at their most extravagant and forward-thinking. Needless to say, 'Limits' is a lovely little closing piece, on an album that sounds impressive and adventurous for 1970, with its jazzy swindles and carefree pop tunes, just a fantastic LP.

Radio Gnome Invisible Vol. 3 - You by GONG album cover

Studio Album, 1974

4.27 | 1190 ratings

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Radio Gnome Invisible Vol. 3 - You
Gong Canterbury Scene

Review by Lobster77

The finale of the Radio Gnome Invisible concept and practically the dissolution of the classic Gong line-up comes in 1974 with the third part of the trilogy ''You''.Pierre Moerlen's younger brother Benoit joined the band on percussion and Daevid Allen decided that this would be more of a team effort.He recalls: ''...I was contributing a lot of the material, that it was too much my original creation. It was time we created something completely together, so we booked up a cottage in England...we connected so strongly together out of the improvisations, we just improvised and recorded it...''.The album was recorded at the Manor Studios in London in July 1974 and was released on Virgin in October.Simon Heyworth, who had collaborated with Mike Oldfield and Clearlight, helped with the production of the album

This was denitely the most intense of all Gong albums, extremely dense in sounds and sights and an amalgam of jazzy improvisations, spaced out experiments and psychedelic weirdness. Tim Blake offers some of his best synthesizer work to be delivered in a Gong album, very cosmic and cinematic with some nice guitar parts by Hillage and the occasional jazzy tastes as proposed by Didier Malherbe's elegant flute lines and powerful sax assaults.''Master builder'' is a masterpiece of the style with great sax work over the guitar and synth moves, while ''A sprinkling of clouds'' may sound a bit hypnotic with its extended synth soundscapes, but ends up to be another Gong weirdness with a full jazzy background and the flute/sax prevailing in the second half.Additionally the sweet vocal parts and the light interplays connect the band for the first time with the delicacy of the Canterbury scene.''The Isle of everywhere'' and ''You never blow yr trip forever'' are the two long cuts (over 10 minutes each) dominating the flipside of the original LP.You cannot blame Daevid Allen for carrying ''...some wonderful acid and we took this acid together as a group...'' back at the time, the result was a pair of cosmic, trippy and deeply psychedelic Jazz-oriented pieces with narcotic rhythms, some funky injections and excellent guitar work by Hillage, while the second cut contains some of the most complex themes executed by Gong in a combination of Heavy/Psych Rock, Fusion and Space Rock with ethereal female voices, flute-led soloing and intricate guitar/sax moves.

Epitomizing what Space Fusion is all about (along with Clearlight).Propably the best part of the Radio Gnome Invisible trilogy, the team effort had done good to the final result, which contains all of the Gong familiar elements: Psychedelic colors, jazzy interventions, poppy vocals and spacious landscapes.Strongly recommended.

Radio Gnome Invisible Vol. 2 - Angel's Egg by GONG album cover

Studio Album, 1973

4.14 | 806 ratings

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Radio Gnome Invisible Vol. 2 - Angel's Egg
Gong Canterbury Scene

Review by Lobster77

I love Flying Teapot to death and I think it's a great starting point into Gong, but Angel's Egg seems to take what Flying Teapot did, compacted it, and made it more complete. There are plenty more shorter excursions here, but they work so well and many songs perfectly flow right into each other. The perks I notice here are Steve Hillage's guitar work (quite fascinating if you ask me), the percussion fest on "Love is How Y Make It", and the overall silliness of everything which is retained from their previous work. With titles like "Sold to the Highest Buddha" and "Eat That Phone Book Coda", you can tell this group aren't taking themselves too seriously, and I love them for it.

Pretty much everything from "Flute Salad" and onward is where I really start to get into Angel's Egg. Even the bonus track on the CD version I have ("The Ooby-Scooby Doomsday...") doesn't slow the album down a bit. "Prostitute Poem" might be my lone gripe, but that gets quickly drowned out by everything else on Angel's Egg. This is a lighter, goofier, way-less-serious side of progressive rock that is worth checking out.

4.0

Studio Album, 1968

3.71 | 635 ratings

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Caravan
Caravan Canterbury Scene

Review by A Crimson Mellotron
Prog Reviewer

A vastly mature psychedelic pop-prog graces the two sides of the self-titled debut album by English band Caravan, with the Canterbury scene innovators releasing their very first work as early as September of 1968, which is rather incredible to think about, as this timing is right around the dawn of the progressive movement and the steady, gentle fade of the psychedelic rock craze. With a strong, ostensible inspiration coming from Pink Floyd's 'Piper' without a doubt, as well as throwing in a couple of references to The Doors, 'Caravan' is a delightful treasure of an album and a great precursor to the excellent fusion-y music the band would go on to explore during the 70s, and while this rather short (and imperfect) studio recording only gives us frail traits of the mighty Canterbury scene, it remains an interesting glimpse into that transitional period of the late 60s, for its proto-progressive blueprints.

With the songs centered around the protruding Hammond organ sounds as well as the strong melodies and vocal harmonies, 'Caravan' is a record that is much in the style of the early Soft Machine 'Volumes' as well as some of those Cream and Floyd-ish exploratory pop tunes. The band's very own debut album already positions Caravan as a band aware of their fine songwriting capabilities, as they explore them quite interestingly and present a lush collection of moods and tones, with some songs being whimsical and uplifting, while others are being more pensive and even gloomy. Album opener 'Place of My Own' is melancholic and distantly menacing, a great song, while 'Ride' might turn out to be too trippy for some tastes. A string of three absolutely excellent numbers follow on side one, and the already impression of the album is of a very consistent, well-organized work. Just three songs on side two, among which the 9-minute closing suite 'Where but for Caravan Would I?' stands out as the first really impressive piece with more complex, challenging arrangements from Caravan. And as poor as the mixing is, and as distracting as this can be, 'Caravan' is a worthy anticipator of the Canterbury scene and a fine late 60s work that still echoes the tastes of The Wilde Flowers and the entire psychedelic rock ooze.

Studio Album, 1970

4.25 | 1235 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 Lobster77

I wonder why I like this class album so much. Maybe it's because all the tracks sound like 1 track as a whole, like a concept album. Or because it's simply a lovely progressive effort: very cleverly structured, elegant "Canterbury", performed in a loose, groovy manner. Delicate vocals, perfectly timed guitar, swirling organ throughout and exactly there we have THE Caravan characteristic: the organ weaves it into a woolen hip(pie) sweater, worn on a moisturized early morning walk through an ancient British forest in midsummer...then, all of a sudden, you stumble upon 4 lads, not quite sure whether it's the '60 or the '70 they're living in. You are grasped by music reaching your ears and rolling along with David, Pye, Richard & Richard within the timeless Caravan capsule. They would then roll all the way to the Land of Grey and Pink.

4.0

Of Queues and Cures by NATIONAL HEALTH album cover

Studio Album, 1978

4.28 | 552 ratings

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Of Queues and Cures
National Health Canterbury Scene

Review by Kaiba

National Health's Of Queues and Cures still holds up as a smart yet accessible prog rock album. The playing is intricate?think jazz-flavored rhythms and layered melodies?but avoids feeling overly calculated. Take The Bryden 2-Step: the guitar and keyboard trade sharp, interlocking phrases without losing the track's drive. Binoculars stands out with its raw emotional tone, offering a directness that contrasts with the album's more abstract moments (which makes it one of my favourite songs among all the works of National Health). What works in this album is how they balance complexity with groove; even the busiest sections feel grounded. It demands attention, but the payoff comes through repeated listens. A good gateway into 70s Canterbury Scene, whether you're a seasoned prog listener or just curious. 4.5 rounding up to 5.

Studio Album, 1972

3.77 | 687 ratings

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Waterloo Lily
Caravan Canterbury Scene

Review by Kaiba

While this album offers moments of undeniable charm, it struggles to fully commit to a cohesive identity. The album starts strong with Waterloo Lily?catchy guitar riffs and bright melodies prove it's a solid opener. The second track isn't bad either: it takes a sharp turn into jazz-rock territory with bold experimental shifts. The issue begins later: from the third track onward, the band retreats to their comfort zone. The melodies grow repetitive, the rhythms turn predictable, and while their playful charm remains, it lacks freshness. Yet amidst these inconsistencies shines "The Love in Your Eye," a sprawling epic whose emotional resonance arguably ranks among Caravan's finest compositions. All in all, this isn't a disappointing album. In fact, its bold fusion-jazz experimentation?ironically?even overshadows the remaining tracks, which, while still pleasant, feel comparatively ordinary. Its high standard overall, along with the fragmented brilliance still justifies a solid four-star rating. For listeners open to jazz, this remains to be a album that's worth a listen.

Studio Album, 1970

4.25 | 1235 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 Kaiba

Pure 1970s gold for anyone who loves rock that's smart but never stuffy. Caravan mixes jazzy basslines, trippy guitar riffs, and flutes that sound like they're dancing (Hello Hello is a straight-up joyride). As I Feel I Die shows their magic?crazy sax solos crash into gentle melodies without missing a beat, like a garage band that accidentally wrote a symphony. The whole album feels raw in the best way: fuzzy recordings, loose jams, and playful lyrics. Sure, it's "prog-rock," but forget the fancy labels?this is just great music that's aged like a weird vintage wine. Fifty years later, it's still the kind of album you'll want to play "all over again". 4.5 rounding up to 5.

For Girls Who Grow Plump in the Night by CARAVAN album cover

Studio Album, 1973

4.19 | 923 ratings

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For Girls Who Grow Plump in the Night
Caravan Canterbury Scene

Review by Kaiba

Definitely one of the best albums of Caravan. Mostly constituted by instrumental pieces, this album lays less stress on vocal parts, which may be the reason why it is sometimes eclipsed by former albums like "the land...". But it's still an indeed masterpiece that may even reach new heights in the essence of being a Canterbury Scene with all the superb performances made mainly by keyboard or drum. In particular, "memory lain"features truly uplifting passages and "surprise, surprise"is a real surprise as well. The combination of viola and strings also add a distinctive texture to this album, which can be highlighted the most in "a hunting...".

Unending Ascending Special Edition-Live by GONG album cover

Live, 2024

2.00 | 1 ratings

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Unending Ascending Special Edition-Live
Gong Canterbury Scene

Review by alainPP

— First review of this album —

This Special Edition album features all eight tracks from 2023's 'Unending Ascending' and incorporates five live tracks to make it seem like a live production, available digitally until the time of writing; no doubt, die-hard fans of this unclassifiable band will have gotten their hands on it under their 80s raincoat, the era of innovative ska. The bonus track 'Musica Per Aprire La Mente, Musica Per Aprire Il Cuore' is the best live track on this album. For the eight tracks, the spotlight goes to the languid Crimsonian 'Ship of Ishtar,' magnified by the bewitching voice of Saskia Maxwell, in fact the vocal engine inspired by the DEAD CAN DANCE or even COCTEAU TWINS. An album that has brought nothing since the death of its founding father, which maintains the legend of a band apart for many fans who remained attached to their sound of the 70s and who will die with an epitaph of said band on their tombstone for sure. An album with an Indian atmosphere, psychedelic above all and quite far from the Canterbury movement that it is supposed to represent. The most 'painful' pieces are those with wind instruments which upset by assaulting the ear.

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Canterbury Scene bands/artists list

Bands/Artists	Country
	France
ACTIONFREDAG	Norway
DAEVID ALLEN	Australia
AMOEBA SPLIT	Spain
ANTIQUE SEEKING NUNS	United Kingdom
KEVIN AYERS	United Kingdom
BIG HOGG	United Kingdom
THE BOOT LAGOON	United Kingdom
BILLIE BOTTLE	United Kingdom
BRAINVILLE	United Kingdom
CARAVAN	United Kingdom
CLEAR FRAME	United Kingdom
COS	Belgium
DE LORIANS	Japan
DELIVERY	United Kingdom
EGG	United Kingdom
THE FILIBUSTER SALOON	United States
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
LUNOPHONE	Multi-National
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
TOM PENAGUIN	France
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
TWENTY FIVE VIEWS OF WORTHING	United Kingdom
VOLAR�	United States
THE WILDE FLOWERS	United Kingdom
THE WINSTONS	Italy
ROBERT WYATT	United Kingdom
ZOPP	United Kingdom
ZYMA	Germany

4.32 \| 2105 ratings IN THE LAND OF GREY AND PINK Caravan	4.29 \| 879 ratings SPACE SHANTY Khan	4.27 \| 1190 ratings RADIO GNOME INVISIBLE VOL. 3 - YOU Gong
4.25 \| 1236 ratings IF I COULD DO IT ALL OVER AGAIN, I'D DO IT ALL OVER YOU Caravan	4.26 \| 1042 ratings ROCK BOTTOM Wyatt, Robert	4.25 \| 930 ratings HATFIELD AND THE NORTH Hatfield And The North
4.28 \| 552 ratings OF QUEUES AND CURES National Health	4.20 \| 1197 ratings THIRD Soft Machine, The	4.19 \| 923 ratings FOR GIRLS WHO GROW PLUMP IN THE NIGHT Caravan
4.21 \| 692 ratings THE ROTTERS' CLUB Hatfield And The North	4.26 \| 345 ratings TO THE HIGHEST BIDDER Supersister	4.14 \| 806 ratings RADIO GNOME INVISIBLE VOL. 2 - ANGEL'S EGG Gong
4.30 \| 209 ratings THE WORLD OF GENIUS HANS Moving Gelatine Plates	4.13 \| 504 ratings BUNDLES Soft Machine, The	4.13 \| 480 ratings NATIONAL HEALTH National Health
4.12 \| 505 ratings THE POLITE FORCE Egg	4.11 \| 532 ratings FISH RISING Hillage, Steve	4.12 \| 391 ratings MAINSTREAM Quiet Sun
4.11 \| 333 ratings PICCHIO DAL POZZO Picchio Dal Pozzo	4.03 \| 628 ratings VOLUME TWO Soft Machine, The	4.14 \| 251 ratings VIVA BOMA Cos