Progarchives, the progressive rock ultimate discography

CANTERBURY SCENE

A Progressive Rock Sub-genre


From Progarchives.com, 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: http://www.allmusic.com
(Edition 3, Aug 2009)

Current team members as at 9/12/2022:
Scott (Evolver)
Drew (BrufordFreak)
Mike (siLLy puPPy)
Mira (Mirakaze)

Canterbury Scene Top Albums


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

4.32 | 2121 ratings
IN THE LAND OF GREY AND PINK
Caravan
4.29 | 892 ratings
SPACE SHANTY
Khan
4.27 | 1205 ratings
RADIO GNOME INVISIBLE VOL. 3 - YOU
Gong
4.25 | 1243 ratings
IF I COULD DO IT ALL OVER AGAIN, I'D DO IT ALL OVER YOU
Caravan
4.25 | 1050 ratings
ROCK BOTTOM
Wyatt, Robert
4.25 | 939 ratings
HATFIELD AND THE NORTH
Hatfield And The North
4.29 | 560 ratings
OF QUEUES AND CURES
National Health
4.21 | 1208 ratings
THIRD
Soft Machine, The
4.19 | 928 ratings
FOR GIRLS WHO GROW PLUMP IN THE NIGHT
Caravan
4.21 | 697 ratings
THE ROTTERS' CLUB
Hatfield And The North
4.25 | 341 ratings
TO THE HIGHEST BIDDER
Supersister
4.14 | 814 ratings
RADIO GNOME INVISIBLE VOL. 2 - ANGEL'S EGG
Gong
4.29 | 215 ratings
THE WORLD OF GENIUS HANS
Moving Gelatine Plates
4.13 | 509 ratings
BUNDLES
Soft Machine, The
4.13 | 486 ratings
NATIONAL HEALTH
National Health
4.12 | 507 ratings
THE POLITE FORCE
Egg
4.11 | 539 ratings
FISH RISING
Hillage, Steve
4.11 | 384 ratings
MAINSTREAM
Quiet Sun
4.11 | 335 ratings
PICCHIO DAL POZZO
Picchio Dal Pozzo
4.14 | 253 ratings
VIVA BOMA
Cos
4.03 | 626 ratings
VOLUME TWO
Soft Machine, The
4.16 | 198 ratings
DOMINION
Zopp
4.07 | 256 ratings
ZOPP
Zopp
3.96 | 696 ratings
THE SOFT MACHINE
Soft Machine, The
4.18 | 136 ratings
POSTAEOLIAN TRAIN ROBBERY
Cos
4.04 | 281 ratings
PRESENT FROM NANCY
Supersister
3.95 | 684 ratings
RADIO GNOME INVISIBLE PART 1 - FLYING TEAPOT
Gong
4.14 | 132 ratings
MOVING GELATINE PLATES
Moving Gelatine Plates
4.15 | 125 ratings
QUIET EUPHORIA
Amoeba Split
3.94 | 473 ratings
GAZEUSE!
Gong
3.97 | 317 ratings
SOFTS
Soft Machine, The
4.14 | 117 ratings
MANNA/MIRAGE
Muffins, The
4.23 | 68 ratings
TOM PENAGUIN
Penaguin, Tom
4.16 | 83 ratings
JOHN GREAVES, PETER BLEGVAD & LISA HERMAN: KEW. RHONE.
Greaves, John
4.00 | 156 ratings
ABBIAMO TUTTI I SUOI PROBLEMI
Picchio Dal Pozzo
3.97 | 176 ratings
PUDDING EN GISTEREN [AKA: PUDDING & YESTERDAY]
Supersister
3.91 | 277 ratings
THE CIVIL SURFACE
Egg
4.20 | 70 ratings
ECCO L'IMPERO DEI DOPPI SENSI
Homunculus Res
4.16 | 75 ratings
BARREN DREAM
Mr. Sirius
3.91 | 245 ratings
LITTLE RED RECORD
Matching Mole
4.05 | 107 ratings
DANCE OF THE GOODBYES
Amoeba Split
3.91 | 239 ratings
GREEN
Hillage, Steve
4.05 | 106 ratings
CAMERE ZIMMER ROOMS
Picchio Dal Pozzo
4.17 | 70 ratings
DE LORIANS
De Lorians
3.91 | 194 ratings
REJOICE! I'M DEAD
Gong
3.87 | 241 ratings
HIDDEN DETAILS
Soft Machine, The
3.88 | 205 ratings
I SEE YOU
Gong
3.87 | 219 ratings
GILGAMESH
Gilgamesh
3.92 | 143 ratings
THE WINSTONS
Winstons, The
3.81 | 438 ratings
SHAMAL
Gong
3.95 | 105 ratings
SECOND SPLIT
Amoeba Split
3.87 | 180 ratings
SHLEEP
Wyatt, Robert
3.79 | 483 ratings
CAMEMBERT ELECTRIQUE
Gong
3.77 | 691 ratings
WATERLOO LILY
Caravan
4.06 | 59 ratings
SUNSET WADING
Perry, John G.
3.97 | 80 ratings
THOUGHTS
Zyma
4.01 | 65 ratings
DIRGE
Mr. Sirius
4.12 | 47 ratings
CUTTING BOTH WAYS
Miller, Phil
3.77 | 369 ratings
EGG
Egg
3.94 | 74 ratings
LIMITI ALL'EGUAGLIANZA DELLA PARTE CON IL TUTTO
Homunculus Res
3.85 | 114 ratings
ACID MOTHERHOOD
Gong
3.87 | 95 ratings
ANDIAMO IN GIRO DI NOTTE E CI CONSUMIAMO NEL FUOCO
Homunculus Res
3.90 | 69 ratings
COME SI DIVENTA CIŇ CHE SI ERA
Homunculus Res
3.89 | 65 ratings
MAGIC BUS
Magic Bus
3.98 | 43 ratings
PROGRESS
Giles, Michael
3.73 | 333 ratings
EXPRESSO II
Gong
4.32 | 19 ratings
SEABIRD
Perry, John G.
4.20 | 23 ratings
MAN OUT OF TIME
Manna / Mirage
3.71 | 638 ratings
CARAVAN
Caravan
3.79 | 114 ratings
DELLA STESSA SOSTANZA DEI SOGNI
Homunculus Res
3.81 | 87 ratings
PHILLIP THE EGG
Magic Bus
4.07 | 28 ratings
AUTOBIOGRAPHIE
Manna / Mirage
4.44 | 14 ratings
IN CAHOOTS: MIND OVER MATTER
Miller, Phil
4.07 | 27 ratings
LYS FREMTID I MŘRKE
Actionfredag
3.77 | 112 ratings
DONDESTAN
Wyatt, Robert
3.78 | 102 ratings
COMICOPERA
Wyatt, Robert
3.80 | 78 ratings
TRANSMISSION FROM SOGMORE'S GARDEN
Magic Bus
3.94 | 38 ratings
FÜR EIN ľ STÜNDCHEN
Tortilla Flat
3.81 | 68 ratings
BEFORE A WORD IS SAID
Gowen - Miller - Sinclair - Tomkins
3.85 | 46 ratings
THE UNCERTAINTY PRINCIPLE
Volaré
3.80 | 64 ratings
DAEVID ALLEN & EUTERPE: GOOD MORNING!
Allen, Daevid
4.11 | 18 ratings
AUSTRALIA AQUARIA / SHE
Allen, Daevid
3.74 | 97 ratings
THE UNIVERSE ALSO COLLAPSES
Gong
4.27 | 13 ratings
MERCY DASH
Hopper - Dean - Tippett - Gallivan
3.96 | 26 ratings
TURIST I EGET LIV
Actionfredag
3.78 | 63 ratings
HOPPER TUNITY BOX
Hopper, Hugh
3.84 | 42 ratings
REMOVING
Moving Gelatine Plates
4.35 | 11 ratings
BILLIE BOTTLE'S TEMPLE OF SHIBBOLETH
Bottle, Billie
3.96 | 25 ratings
SONGS
Greaves, John
3.72 | 118 ratings
KEVIN AYERS & THE WHOLE WORLD: SHOOTING AT THE MOON
Ayers, Kevin
4.05 | 19 ratings
REST OF THE WORLD
Manna / Mirage
3.79 | 50 ratings
CHRONOMETERS
Muffins, The
3.69 | 157 ratings
JOY OF A TOY
Ayers, Kevin
3.79 | 47 ratings
BURDEN OF PROOF
Soft Machine Legacy
4.00 | 18 ratings
BEGINNINGS
Penaguin, Tom
3.80 | 41 ratings
185
Muffins, The
3.90 | 24 ratings
PALINDROME
Muffins, The
3.96 | 19 ratings
IN CAHOOTS: ALL THAT
Miller, Phil
3.77 | 48 ratings
HUGH HOPPER & ALAN GOWEN: TWO RAINBOWS DAILY
Hopper, Hugh
3.96 | 18 ratings
BLUE DOGS
Manna / Mirage

Canterbury Scene overlooked and obscure gems albums new


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

THE BRUISED ROMANTIC GLEE CLUB
Jakszyk, Jakko M.
GILGAMESH
Gilgamesh
CHRONOMETERS
Muffins, The

Latest Canterbury Scene Music Reviews


 Softs by SOFT MACHINE, THE album cover Studio Album, 1976
3.97 | 317 ratings

BUY
Softs
The Soft Machine Canterbury Scene

Review by BrufordFreak
Collaborator Honorary Collaborator

5 stars The Nucleus takeover is nearly complete: Soft Machine founder and only remaining original core member Mike Ratledge only participates on two of this album's eleven songs; newcomers Alan Wakeman and John Etheridge make their marks with bells on!

1. "Aubade" (1:51) the addition of guitars, courtesy of newcomer John Etheridge, is a game changer for this band--as demonstrated by this opening duet between Etheridge and Alan Wakeman, another newcomer. Sounds like the PAUL WINTER CONSORT to me. (4.375/5)

2. "The Tale of Taliesin" (7:17) piano arpeggi and symphonic rhythmic accents from drums and bass make this feel like a prog piece from a long-lost ELP-CAMEL collaboration. A three-part suite, upon hearing the fiery electric guitar work throughout the mid-section of this song is just weird (despite Allan Holdsworth's indomitable presence on Bundles): not the Soft Machine I think of when I conjure up the essence as my brain categorizes it. Interesting and well-made; it's very proggy (which is, in my opinion, quite a departure from the Jazz and Jazz-Rock Fusion explorations of the previous eight albums). (13.5/15)

3. "Ban-Ban Caliban" (9:22) establishing itself like a train starting up from a standing/loading position, this song has a foundational rhythm track that seems massive: like a blunt force projectile that has relentless and insidious power. Sax takes the first solo, then John Etheridge's soaring guitar. The song's power and drive is so like that of Jean-Luc Ponty's "Egocentric Molecules" (which is much more familiar to me) from his 1978 masterpiece, Cosmic Messenger that it adds fuel to my theory that Jean-Luc must have been a voracious devourer of music new to the Jazz and Jazz- Rock Fusion world and that he was not at all shy about borrowing ideas from others. Bass player Roy Babbington and drummer John Marshall even gets some shine in the third quarter before keys and rhythm guitar try to step in--but the rhythm section's momentum is simply too much for any interlopers or intruders. Monster song! (18.875/20)

4. "Song of Aeolus" (4:31) the sound of winds, bleeding over from the weather system that was the decay of "Ban-Ban Caliban," this song slowly establishes itself as a slow, emotive guitar-led song that foretells all guitar-centered New Age music of the next 20 years--especially that of Ray Gomez, Hiram Bullock, and Paul Speer. Beautiful if more Adult Contemporary/Smooth Jazz that Jazz-Rock Fusion. (9/10)

5. "Out of Season" (5:32) what starts out as piano and acoustic guitar duet that sounds a lot like the "New Age" music work of David Lanz and Paul Speer--even moreso as the song develops and the other musicians join in--as John Etheridge adds a track of electric guitar to the mix. Again: pretty and emotionally-engaging but a far stretch to call this either Jazz-Rock Fusion or Progressive Rock. (8.875/10)

6. "Second Bundle" (2:37) layered and looped keyboard experimentation that recalls some of the work Ratledge and Jenkins had done with their Terry Riley inspiration. Sounds nice. (4.4375/5)

7. "Kayoo" (3:27) another Five "D.I.S."-like display of percussion play from and for John Marshall. This one has a more defined transition to full-on drum kit play: John exhibiting more Billy Cobham-like skill at presenting "song" and "melody" than on previous solo attempts. Still, however, not a song that really stands well on its own. (8.667/10)

8. "The Camden Tandem" (2:01) John Etheridge's machine gun guitar spews forth a spray of notes to try to match/keep up with the snare play of Mr. Marshall. In the second half he pauses to inject some blues notes, chords, and scales before the two go off into machine gun territory again. (4.375/5)

9. "Nexus" (0:49) a bombastic lead in to . . .

10. "One over the Eight" (5:25) a funk jazz tune that Roy Babbington and John Marshall lead the band into so that Alan Wakeman can blow on his ultra-cool reverb sax. Etheridge and Jenkins's support is strongly aligned with what the funk requires as Wakeman kills it with his sax. If only Sanborn, Kenny G, and Najee had this kind of support crew--this kind of songwriting--and this kind of presence! What a great song! Makes me want to jump and dance till the cows come home! (9.75/10)

11. "Etika" (2:21) another acoustic guitar composition--this time performed on two guitars, over two tracks, by John Etheridge tout seul. I like the transition into John McLaughlin territory in the second half of the song. Well done! (4.75/5)

Total Time 45:13

The new members have helped The Soft Machine to usher in an entirely new and quite different sound. Here they have taken on a much more symphonic mantle manifesting a sound that is much more aligned with progressive rock than their old Canterbury or even Jazz-Rock Fusion leanings.

A-/five stars; another mixed bag of materiel that has some very new-feeling elements at use (including entering/pioneering the Adult Contemporary/New Age world as well as crossing over into more generic prog territory) but of a very high quality of compositional and performative maturity.

 Fifth [Aka: 5] by SOFT MACHINE, THE album cover Studio Album, 1972
3.46 | 335 ratings

BUY
Fifth [Aka: 5]
The Soft Machine Canterbury Scene

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars Goodbye Robert, goodbye to all vocals; hello to refugees from Ian Carr's Nucleus.

1. "All White" (6:06) opening the album with a very serious, very heavy jazz commitment, the music develops as something that could come off of one of Miles Davis' Second Great Quintet albums or one of Herbie (Hancock) or Wayne (Shorter)'s solo side projects. Though Hugh Hopper's bass is rather dull with its near-metronomic riff repeating over and over, Phil Howard's drumming is quite satisfactory. Mike Ratledge holds down the middle ground more as a mirror and reinforcement for the rhythm section (until the very end) while Elton Dean commands attention with his continuous play of his sonorous soprano sax. Interesting. (8.75/10)

2. "Drop" (7:42) water drop sound effects paired up with delay and echoing organ (Mike Ratledge) and Rhodes (Elton Dean) noodlings make this, to my mind, a further exploration or variation on the Terry Riley-inspired opening and closing sections of Third's "Out-Bloody-Rageous." In the third minute the rest of the band starts to join in and try to establish a syncopated quick-step motif within which Mike continues soloing ŕ la Herbie Hancock while Elton Dean steps in with his kazoo-sounding "saxello" for an extended stream of electrified nasal fuzz play. Interesting. (13.125/15)

3. "M C" (4:57) an introductory barrage of echoing and reverberating electric piano runs is then greeted by Phil Howard's free-form drumming. In the second minute the quartet seems to want to try to pull something together but each musician seems to be, for whatever reason, reluctant: as if standing on the sidelines, watching one another while holding space with ramblings from their own instruments, waiting for the signal to gel and jump into a forward- moving direction. Despite its pervasive feeling of indecision and neutrality, I find myself liking this song quite a bit; it's like a lineup of race horses, caged in their starting gates, waiting for the gun to go off. (But it never does!) Very cool! Great way to end Side One! (9/10)

4. "As If" (8:02) by now I'm getting the distinct feeling that Elton Dean thinks that he's in charge--that this is his album as the "lead" instruments over the top of the relegated-feeling support of the "rhythm section" are overwhelmingly his. On this one it's the alto sax for the first five minutes before Roy Babbington's bowed double bass gets some extended shine (over Hugh Hopper's steady, hypnotic bass line). John Marshall's drumming stands out for its crisp, prominent sound, as well as for his quickness and decisiveness. Yet, despite the sharing of the spotlight, it definitely felt like Elton Dean's song--his decision to give newcomers Roy and John some time to "introduce" themselves. (13.25/15)

5. "L B O" (1:54) an eruption of drumming like something we've heard from Tony Williams and Billy Cobham. Though John Marshall is an impressive drummer, this is not a very winning solo. (4.3333/5)

6. "Pigling Bland" (4:24) a mellower, more-melody-driven near-Canterbury-feeling song in which the rhythmatists are allowed to shift and move, stop and start--and it works really well beneath Elton Dean's saxello soloing: giving the song a very interesting and engaging foundation and, perhaps, pressuring Elton to play something a little more melodic than he normally does. Cool speed shift and new motif for the last minute. I love the Nucleus effect! (9.25/10)

7. "Bone" (3:29) bowed double bass, bubbling electric bass, waves from cymbal crashes, and deep thrumming organ drone notes precede the introduction of some creepy spacey organ notes and "distant" piccolo/ocarina "jungle" noises. The feel here is both early Vangelis and early/proto World Music--perhaps even something inspired by the soundtrack to Stanley Kubrick's 2001: A Space Odyssey. Though I wish it could have developed a little more, I do like it. (8.875/10)

Total Time 36:34

Definitely not as bad an album as many reviewers want to claim: though I am glad the band did not choose to continue to forge a path through the dark woods of avant garde "free jazz," there is a lot of authentic jazz experimentalism going on in these songs--which is admirable for what feels like its genuine sincerity.

B/four stars; a solid collection of experimental jazz/Jazz-Rock Fusion tunes and études that connote advancement and progress for this band. This album result is not unlike some of the experimental albums we all know and lament that were released but we wish had been left in the artists' private libraries yet we also recognize were necessary for the artists' progress. Think Herbie Hancock, Wayne Shorter, Miroslav Vitous, Joe Zawinul, Tony Williams, Toto Blanke, Jan Hammer, John McLaughlin, Jan Akkerman, and many more and the experimental "duds" that they published (as songs or albums) but which served as stepping stones in their growth and development. That is what this album, Five feels like for me.

 Seven by SOFT MACHINE, THE album cover Studio Album, 1973
3.62 | 337 ratings

BUY
Seven
The Soft Machine Canterbury Scene

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars The Softs are now down to one original member and three former Nucleus members! Luckily, the four very talented musicians all have a common desire to make Jazz-Rock Fusion.

Side One: 1. "Nettle Bed" (4:47) a solid and suitably-nuanced, complex, oddly-timed composition which features Mike Ratledge's synthesizer as the main soloist. The main motif cycles around and around just a few too many times before it begins to annoy (despite John Marshall's attempts to liven things up). (8.75/10)

2. "Carol Ann" (3:48) a song that reveals that the band still possesses some of that "old" capacity for creating soul- melting earworm melodies. Mike and Karl on synthesizer and electric piano, respectively, while Roy adds some great melodic bass lines and John . . . sits out. Gorgeous; ascendant into the absolute highest realms that the Canterburians ever achieved. A perfect song to illustrate how unnecessary it is (or ever was) to have to noodle and layer impressively in order to make memorable, likable, and/or beautiful music. (9.3333/10)

3. "Day's Eye" (5:05) a more jazzy song that seems to be founded on a variation of the chord and melody structure of the previous song. Here we have bass, saxes, Canterbury "buzz-saw" organ, electric piano support, drums, and, early and later, excellent baritone sax. Like many reviewers, I much prefer the more jazz-aligned bass playing style of Roy Babbington over the nebulous one of Hugh Hopper. (9.125/10)

4. "Bone Fire" (0:32) seems to be a continuation from the previous (two) song(s), differentiated only by a barely- detectable key shift. (4.625/5)

5. "Tarabos" (4:32) another song in the obvious straight-line recording tape from "Carol Ann" on, this one features some processed oboe or soprano sax over a typical revolving cycle of a Mike Ratledge Canterbury theme. I still can't tell if it's a sax or oboe as we enter the final minute of my third headphones listen to this song--which is pretty extraordinary. My biggest complaint is the same one from the album's opener is the tedium created by the endless repetition of that main cycle--which is why I love the extended "end coda" feel of the final minute. (8.875/10)

6. "D.I.S." (3:02) a percussionist's solo which sounds like a Westerner playing around with the Japanese and or Chinese (or Gamelan) instruments available to him in a Zen Buddhist garden. Interesting but something that perhaps should have been left to John's own private library. (8.6667/10)

Side Two: The Penny Hitch Suite: 7. "Snodland" (1:50) dreamy Harold Budd-like floating electric piano arpeggi paired with wind chime play turns into . . . (4.5/5) 8. "Penny Hitch" (6:40) a minimalist arpeggio of an organ chord that is slowly woven together with TRAFFIC-like bass line, ballad rock drum support, and long-sustained processed (and muted) saxophone notes. Hypnotic but stumbles for its limitation to but two chords that only alternate every minute or so. (8.875/10) 9. "Block" (4:17) in this section of the unbroken flow of the suite Mike's synthesizer tries to match and emulate Karl's saxophone (and Roy's bass) lines! Then he takes over the lead as the band matches his new found fire and intensity. (8.75/10)

10. "Down The Road" (5:48) yet another attempt to stretch a simple yet-catchy drum and bass loop out to make an entire song--a trick that the great bassist John Lee and Donald Byrd's mid-1970s songwriters, Larry and Fonce Mizell, were prone to fall prey to. Not a bad song, just dull and doing little to climb out of its mediocrity. (8.75/10)

11. "The German Lesson" (1:53) 12. "The French Lesson" (1:01) the two songs that rather seamlessly flow one into the other remind me very much of some of the old silly stuff from the band's first two albums only this time filtered through the Terry Riley-imitative synthesizer delays and looping found in Third's "Out-Bloody-Rageous"--sounds and stylings that would become the realm of German artists like Rodelius, Cluster, and Dueter. (4.375/5)

Total Time: 43:15

B+/four stars; an excellent display of the evolution of a Canterbury band who thought it was playing jazz (albeit, a very British form of jazz) turning into more evolved jazz-rock Fusion musicians.

 Time Is the Key by GONG album cover Studio Album, 1979
3.06 | 151 ratings

BUY
Time Is the Key
Gong Canterbury Scene

Review by maxsmusic

4 stars The end of the 1970's was a period of great stress in the world of jazz fusion and this album is an example. The tastes of the record buying public had shifted to more commercial material and bands that had experimented with jazz were falling out of favor. Gong had a great run but was quickly losing steam. This album is a percussion album as can be expected with a band called gong. It is less experimental and more staightforward with Pierre directing the themes. I bought the album in the early 80's because Holdsworth played on a few tracks. I still listen to it occasionally and like it. It may not be great but it is product of its time. Compared to previous work by this group, it is simple and direct. 3.5 stars.
 Son of Glen by JAKSZYK, JAKKO M. album cover Studio Album, 2025
3.84 | 25 ratings

BUY
Son of Glen
Jakko M. Jakszyk Canterbury Scene

Review by BBKron

3 stars Surprisingly mellow and personal album from this vocalist-guitarist best-known from his work with King Crimson and Robert Fripp, but who also has played with The Tangent and Level 42, and collaborated with many others as a session musician. On this solo release (his 6th), there are some lovely tunes and autobiographical lyrics that create a nice atmosphere, but also occasionally veer a bit too much toward 70's soft rock. Quite pleasant, but doesn't pack much of a punch, or create a lasting impression. Best tracks are the very personal and extended track, Son of Glen and (Get a) Proper Job. Rating: 3
 Son of Glen by JAKSZYK, JAKKO M. album cover Studio Album, 2025
3.84 | 25 ratings

BUY
Son of Glen
Jakko M. Jakszyk Canterbury Scene

Review by Grumpyprogfan

3 stars I'm a little puzzled why this is labeled Canterbury since there is nothing close to that musical genre on this album. This is a mellow but catchy record with elements of R&B and pop. It's very smooth, well produced and played, but the only songs that sound somewhat like prog are "(Get A) Proper Job" or "Son of Glen", which is the highlight for me. If mellow pop is your thing, there is a lot to enjoy. Nice vocal harmonies, good musicianship, and the production is nice. It's a very safe upbeat decent album. Far from Canterbury. I recommend you stream this before buying.

 Son of Glen by JAKSZYK, JAKKO M. album cover Studio Album, 2025
3.84 | 25 ratings

BUY
Son of Glen
Jakko M. Jakszyk Canterbury Scene

Review by tszirmay
Special Collaborator Honorary Collaborator

5 stars In the monumental history of progressive rock, few can claim to be as eclectic and productive as, with a fascinating life and career to boot, than Jakko M. Jakszyk. He has played with such celebrated bands as 64 Spoons, Dyzrhythmia, Rapid Eye Movement, Level 42, The Lodge, The Tangent, and most recently, his childhood idol King Crimson and its varied offshoots: Jakszyk Fripp Collins, and 21st Century Schizoid Band. He has collaborated or worked as a session musician with Fjieri, Steve Wilson, Tom Robinson, Peter Blegvad, Danny Thompson, Gavin Harrison, Richard Barbieri, Mick Karn, Dave Stewart and Irish singer Louise Patricia Crane. His solo albums are equally prized possessions: The Romantic Glee Club (2006), Waves Sweep the Sand (2009) and Secrets and Lies (2020). Needless to say, I have been a lifelong fan of his artistry and uniqueness.

It is incredibly rare and impressive at the same time, for a person to wait literally a half a century to finally figure out the truth about their origins, a reality that has even intrigued my maternal mother's authenticity for decades, until her passing revealed the veracity of her plight. Something Central and Easter Europeans have been bedeviled with after the upheavals of two cataclysmic World wars. Needless to say, this is a revelatory epiphany of sorts, a final and peaceful reckoning that deserves on its own a standing ovation.

Jakszyk was born in 1958 in London, the son of Irish singer Peggy Curran and an unknown American airman (now we know its Glen Tripp). At 18 months of age, he was adopted by two European refugees Polish Norbert Jakszyk and his French wife, Camille. The young boy grew up in a childhood best described as unhappy; his adoptive parents' nationalities led to an unsettled home life. He explained, "There was a lot of confusion ? English was a second language for both of them, so although I could understand them both, they often couldn't understand each other ? it led to all sorts of daft misunderstandings and rows." Jakszyk was frequently in conflict with Norbert, although the two would reconcile later in life. In 1977, he tracked down his birth mother Peggy, who had settled in Arkansas; he and Peggy would eventually meet in 1984. Jakszyk would later reconstruct his complex family history in an extended radio piece, "The Road to Ballina". The instrumental "Ode to Ballina" opens up this album in mournful respect, piano and fluted Irishness combine with melancholia as Caroline Lavelle plays the cello as if a deliverance. Before moving into vocal territory on "Somewhere Between Then and Now", this set of songs are a deeply rooted personal set of declarations that merit perhaps more than usual attention to the lyrics, therefore I urge fans to consider reading the words throughout, to better empathize with the artist. Starting out pastoral and bucolic with a twist in the English style of Prog-Folk, the jazzy, sunshiny pace rapidly accelerates into the passionate stylistics the man is famous for. Jakko can sing beautifully and most convincingly, as well as playing exceptional guitar lines, that shy away from overt gratuitous displays. Gavin Harrison supplies his usual world-class syncopation on the next few tracks.

Paternal relationships can often be complicated, even in good times, as emotions do not always appear voluntarily, from both parties really. It's not easy being a father and neither is it being a son. There can be layers of pent-up guilt and aching regret, and 'an armoury of questions' on "How Did I Let You Grow So Old", as poignant elegy to the male interface as humanly possible. It's frankly emotive to the point of suffering. Norbert makes a cameo appearance that really seals the deal. Here once again, the smoky piano enhances the vintage veneer of history, a hushed voice exuding a multitude of feelings. The guitar/voice duet is stunningly pulled off, the forlorn cello adding age into the equation of meaning. Legacy track.

Love songs, you ask. Partnerships are not easy either, as some of us know full well. Often, romantic souls rely on parallel circumstances that provide a foundational comfort . On "This Kiss Never Lies", Jakko found that relief within the Irishness of her mother, so it should not come as a surprise that Louise Patricia is from Northern Ireland, and you know, the thin fine line between mother and wife becomes apparent. Musically and lyrically, this is one of his loftiest achievements, a perfect tune in a myriad of ways, heartfelt, honest and genuine, three attributes currently vying for top spot of disappearing species on the verge of extinction. He found the love of his life.

An electric guitar-led Reprise of "Ode to Ballina" acts as a change of pace intermezzo , and as such is a perfect foil to live it up a tad on "I Told You So", a more affirmative testament to the courage of fighting for resolution, never surrendering to despondence. Ian Mosley keeps the tempo pulsating and fresh, as if a renaissance of sorts is about to occur.

"Get A Proper Job" was something that must have stuck in the artist mind, when declaring as a teenager, I want to be a musician often brought about verbal thunder and lightning or maybe a volcanic eruption. Hungarian drummer Zoltan Csorsz of Flower Kings and Lifesigns repute handles the brief percussive banter. It doesn't last long, but neither did their relationship between son and father at the time.

The title track is not only the proggiest here, it's also the most significative of the story as we all discover who Glen Tripp really was. Django Jakszyk (son of Jakko) is on bass and Gavin shoves him along for the ride. Lest we forget that just because Jakko enjoys playing with Fripp, he still mans a wild guitar on his own merits and his display here matches his lead vocalist prowess, which were never in doubt anyway. Talk about salvation. An absolute corker of a track.

It took me multiple decades to realize why this particular artist had such a hold on my psyche, and the clue was there all along in the title of his solo album: The Romantic Glee Club. Yes, I am proud to admit I am and always will strive to be a hopeless romantic. His finest moment yet. Bravo, Jakko.

5 Ancestry trees

 Live At Fairfield Halls - 1974 by CARAVAN album cover Live, 2002
4.48 | 139 ratings

BUY
Live At Fairfield Halls - 1974
Caravan Canterbury Scene

Review by Nickmannion

5 stars One hazy Sunday in May 1980, myself and some friends went to a pub in Herne Bay (about 10 miles from Canterbury) for Sunday lunch and a beer. With the 'strange' licensing laws back then we were finishing up and about to leave at 2pm but the landlady said 'have another if you want boys am locking the doors'. Now I have asked my bestie who was with me and we cannot remember if the name above the door was Mrs Hastings or Mrs Sinclair but her offspring and another Caravaner were sat in the corner and when we cottoned on we went over and had a wonderful hours chat (mostly about how punk had finished them off and they couldn't get arrested now) and it is nice to meet your 'heros' sometimes!

I of course have the full studio output (I didn't back then!)...and the contrarian in me has as his 3 fav. albums the 3 with the lowest, or at least 2 of them, ratings...so I thought it best to go with one of my all time, across my whole collection, live recordings. It goes without saying then that I see/hear this as a band at their peak. About this time I believe they were touted by parts of the musical press as 'probably the next big thing'....but 'critics' bands always had/have a habit of not hitting the spot with enough of the public/music listeners ...and of course they remained strictly second division...but not for those of us in the know! The tracks should be familiar to most who read this. The slight melancholia of the vocal/s, if not an acquired taste, will never bring a joyous celebratory mood out in you but that was not who they were. The arrangements of songs had that 'matured and improved on the road' from the studio versions that the best bands developed. The audience, assuming no messing in the studio, were polite yet enthusiastic. And I will ignore the aforementioned besties view that 'Caravan were the ultimate Grammar School boys band'....for those non UK readers it translates as nice/middle class young gentlemen (he actually likes them!). So it was never going to be rock n roll! I have tried self edits as it is way too long for my purpose...but this version of 'For Richard' I would have wanted played at my funeral. It has that profound effect every time I hear it as in stirs the emotions. Unfortunately, in the bands time line, they came up with Cunning Stunts and Blind Dog At St Dunstans as their next 2 studio efforts...both of which I really rate but most here do not and neither did the record buying public in 1975 and '76 which underscores that this is indeed their peak.

I raise another 'lock in' glass to the 3 I met, what 6 years after this, and thank them.

 Of Queues and Cures by NATIONAL HEALTH album cover Studio Album, 1978
4.29 | 560 ratings

BUY
Of Queues and Cures
National Health Canterbury Scene

Review by deathjazz

5 stars The Canterbury scene has quite a wide range of sounds but some common ground due to overlapping members. In the case of National Health this was really a supergroup (after the supergroup of Hatfield and the North) and whilst they were later in the original scene I believe that they showcased the very best of Canterbury Prog with very skillful playing but keeping the English humour element. On "Of Queues and Cures" they really did hit the heights with a great album throughout. My immediate favourites are "The Bryden 2-Step" and "Binoculars" although all are great compositions. With The Bryden 2-Step there is a great build up which explodes into some of the best music I have heard, each member stands out but it all comes together so well. I love the sound of the fretboard to accentuate how much is going on here. Binoculars is unusual in that it is one of the few sung tracks by National Health but this track probably sums Canterbury up nicely with the English humour lyrics but also fantastic progressive music.

Of Queues and Cures to me is the height of the early Canterbury scene which includes some fantastic bands. Fifty years later and the sound is still going strong with bands like Zopp, an excellent tribute to the sounds of Egg and National Health.

 Live In Brazil: 20th November 2007 by GONG album cover DVD/Video, 2007
4.06 | 15 ratings

BUY
Live In Brazil: 20th November 2007
Gong Canterbury Scene

Review by Mellotron Storm
Prog Reviewer

4 stars Daevid Allen and his University Of Errors band flew to Brazil in November of 2007 to do a brief series of concerts. His drummer wasn't available so Brazilian Fred Barley was enlisted to fill that role. Fred is in DIALETO but more importantly he is part of the INVISIBLE OPERA COMPANY OF TIBET band. That band, named by Daevid Allen by the way, also featured Fabio Golfetti and Gabriel Costa both from VIOLETA DI OUTONO. So under the banner of GONG GLOBAl FAMILY this concert was filmed on November 20th 2007. So we get Allen and Pollock from Daevid Allen's UNIVERSITY OF ERRORS band, along with the trio from the INVISIBLE OPERA COMPANY OF TIBET, plus a Brazilian sax player making this a six piece.

Daevid Allen is in such fine form here. And he really is having the time of his life it would appear. The band is incredible. These are players and I can't tell you how much I enjoyed some of those serious instrumental sections. Of course they are playing GONG songs so there's plenty of silliness as well. We get 64 minutes of music and there are two tracks in particular that really stand out. The over 11 minute "Fohat Digs Holes In Space" the longest track here, along with "Master Builder" at 8 minutes. The final track for this show was "Selene" and the encore song was "Dynamite".

I have both the audio cd and the dvd. The dvd was sent to me by Fabio Golfetti many years ago along with "UFO Planante" by the INVISIBLE OPERA COMPANY OF TIBET. The latter has brought me so much joy. To even be messaged by Fabio in the first place was an honour. And he did so to thank me for my "Volume 7" review of his VIOLETA DI OUTONO band. I was pretty star struck at the time I must admit. I would highly recommend this dvd or the audio cd. And it's a must if you're a big GONG fan.

Data cached

Canterbury Scene bands/artists list

Bands/Artists Country
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
VOLARÉ United States
THE WILDE FLOWERS United Kingdom
THE WINSTONS Italy
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: JazzMusicArchives.com — jazz music reviews and archives | MetalMusicArchives.com — metal music reviews and archives

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