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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)

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 | 2117 ratings
IN THE LAND OF GREY AND PINK
Caravan
4.29 | 887 ratings
SPACE SHANTY
Khan
4.27 | 1198 ratings
RADIO GNOME INVISIBLE VOL. 3 - YOU
Gong
4.25 | 1242 ratings
IF I COULD DO IT ALL OVER AGAIN, I'D DO IT ALL OVER YOU
Caravan
4.25 | 1047 ratings
ROCK BOTTOM
Wyatt, Robert
4.25 | 936 ratings
HATFIELD AND THE NORTH
Hatfield And The North
4.29 | 554 ratings
OF QUEUES AND CURES
National Health
4.20 | 1205 ratings
THIRD
Soft Machine, The
4.19 | 926 ratings
FOR GIRLS WHO GROW PLUMP IN THE NIGHT
Caravan
4.21 | 694 ratings
THE ROTTERS' CLUB
Hatfield And The North
4.25 | 339 ratings
TO THE HIGHEST BIDDER
Supersister
4.14 | 808 ratings
RADIO GNOME INVISIBLE VOL. 2 - ANGEL'S EGG
Gong
4.30 | 211 ratings
THE WORLD OF GENIUS HANS
Moving Gelatine Plates
4.13 | 506 ratings
BUNDLES
Soft Machine, The
4.13 | 482 ratings
NATIONAL HEALTH
National Health
4.12 | 505 ratings
THE POLITE FORCE
Egg
4.11 | 536 ratings
FISH RISING
Hillage, Steve
4.12 | 383 ratings
MAINSTREAM
Quiet Sun
4.11 | 334 ratings
PICCHIO DAL POZZO
Picchio Dal Pozzo
4.14 | 253 ratings
VIVA BOMA
Cos
4.03 | 625 ratings
VOLUME TWO
Soft Machine, The

Canterbury Scene overlooked and obscure gems albums new


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

SPLIT SECONDS
Miller, Phil
JOHN GREAVES, PETER BLEGVAD & LISA HERMAN: KEW. RHONE.
Greaves, John
NATIONAL HEALTH
National Health

Latest Canterbury Scene Music Reviews


 Son of Glen by JAKSZYK, JAKKO M. album cover Studio Album, 2025
3.89 | 18 ratings

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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
3.89 | 18 ratings

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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
3.89 | 18 ratings

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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

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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 | 554 ratings

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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

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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.

 For Girls Who Grow Plump in the Night by CARAVAN album cover Studio Album, 1973
4.19 | 926 ratings

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For Girls Who Grow Plump in the Night
Caravan Canterbury Scene

Review by jayjayl48

4 stars For Girls Who Grow Plump in the Night is the fifth studio album released by Caravan. The album features

Pye Hastings - guitars and lead vocals

Geoff Richardson - viola

David Sinclair - Organs, keyboards, piano and synthesizers

John G Perry - Bass

Richard Coughlan - Drums

and many additional musicians...

I really enjoyed this album. There are many memorable songs. The first three songs (Memory Lain, Hugh, Headloss and Hoedown) flow well into one another and Pye Hastings vocals on "Memory Lain Hugh" are awesome. The riff for "Memory lain Hugh" was stuck in my head for days its very catchy. I love the fuzzy guitar tone found throughout the album especially on "C'thlu Thlu". That is definitely a standout track. My favorite song on the album by far is "The Dog, the Dog, He's at It Again". I can't really explain why it's my favorite it's just a fun song to listen to and captivating. Side A evokes fun canterbury moments with more standard rock-oriented songs with many delightful progressive moments. While side 2 is definitely more progressive in sound. The album really starts to become spectacular from C'thlu Thlu until the end of the album in my opinion. That stretch of tracks is perfect. Song after song it was magical. Overall, I enjoyed this album very much. It is a great addition to any prog collection and a great Canterbury Scene record by a great Canterbury Band.

I give them album 4/5 stars. It's an excellent addition to any prog rock music collection.

 Beginnings by PENAGUIN, TOM album cover Studio Album, 2025
4.00 | 16 ratings

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Beginnings
Tom Penaguin Canterbury Scene

Review by ProgfanJP

4 stars Tom Penaguin is a multi-instrumentalist from France whose self-titled debut solo album, released in 2024, caused a stir among progressive rock fans. Making full use of vintage equipment and systems, Penaguin openly paid homage to the Canterbury scene of the past, led by Egg and National Health, through his sound. This archival album, "Beginnings," features songs he composed and recorded between 2012 and 2020 before his solo debut.

According to the artist, there is no continuity between the songs and the recording/mixing quality is not the best due to the band's lack of experience at the time. However, the seeds of what would become their subsequent album '24 can be seen in every track, and the album offers high-quality instrumental jazz rock that directly reflects the influence of Canterbury's music. The vintage organ/electric piano, which mimics Dave Stewart's playing style but condenses it into complex melody and chord progressions, the slightly sticky drums, and the guitar, which sounds more like Steve Hillage or Allan Holdsworth than Phil Miller, are all intricately intertwined within Tom Penaguin's unique methodology, and when viewed as a whole, the finished product somehow exudes the warmth of its creator. This DIY Canterbury music, which demonstrates Tom Penaguin's undeniable talent, is truly magnificent. If you were moved by his solo debut, "Beginnings" is a must-see.

 If I Could Do It All Over Again, I'd Do It All Over You by CARAVAN album cover Studio Album, 1970
4.25 | 1242 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

4 stars 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 | 1198 ratings

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Radio Gnome Invisible Vol. 3 - You
Gong Canterbury Scene

Review by Lobster77

5 stars 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.

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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
VOLARÉ United States
THE WILDE FLOWERS United Kingdom
THE WINSTONS Italy
ROBERT WYATT United Kingdom
ZOPP United Kingdom
ZYMA Germany

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