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Canterbury Scene • United Kingdom

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Egg biography
Formed in 1969 in London, UK - Disbanded in 1972 - Reformed in 1974 only for recording sessions

One of the first bands from the Canterbury School (SOFT MACHINE or HATFIELD AND THE NORTH), EGG was a trio consisting of... Dave STEWART on organ, piano and tone generator, Mont CAMPBELL on bass and vocals (also organ, piano and French Horn), and Clive BROOKS on drums. The music is very structured and composed, with classical pieces (BACH) and some light jazzy influences. The band explored a variety of time signatures and key relationships, sometimes explored classical ideals, and even composed their own symphony.

Canterbury band that released three organ-prominent albums. "The Polite Force" was EGG's second release, and was better developed musically from their debut, a style that was carried on to the subsequent "The Civil Surface". If you like that, go on and get the other two eventually. (if you don't like it, then don't bother). Fans of organ-driven progressive rock with a perfect 70's atmosphere will eat it up. Although EGG is an essential part of any progressive collection. An historical band...!

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BBC Sessions And More (November 1968 - March 1972)BBC Sessions And More (November 1968 - March 1972)
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EGG discography

Ordered by release date | Showing ratings (top albums) | Help to complete the discography and add albums

EGG top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.81 | 270 ratings
4.16 | 397 ratings
The Polite Force
3.86 | 206 ratings
The Civil Surface

EGG Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

EGG Videos (DVD, Blu-ray, VHS etc)

EGG Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.25 | 9 ratings
Seven Is a Jolly Good Time
3.78 | 22 ratings
The Metronomical Society

EGG Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

4.61 | 14 ratings
Seven is a Jolly Good Time

EGG Reviews

Showing last 10 reviews only
 Seven is a Jolly Good Time by EGG album cover Singles/EPs/Fan Club/Promo, 1969
4.61 | 14 ratings

Seven is a Jolly Good Time
Egg Canterbury Scene

Review by Matti
Prog Reviewer

5 stars A 7-inch Canterbury gem! A 60's single containing prog! Something one don't run into too often.

EGG, one of the earliest Canterbury acts, or prog bands altogether, were a trio of organist-pianist Dave Stewart (later a member in Hatfield and the North, and National Health), bassist-vocalist Mont Campbell and drummer Clive Brooks. Originally there was also the to-be-famous guitarist Steve Hillage around; at the time the group was called URIEL. That quartet of very young musicians played at youth clubs in 1968, with The Nice and Pink Floyd as their most notable influences. When Hillage went to study history and philosophy at Kent University - located in Canterbury - , the remaining trio changed their name to Egg. In the spring of '69 they recorded this debut single, just before teaming up again with Hillage on his summer holiday, to make an album under the name of ARZACHEL. Yeah, pure Canterbury spirit in that sense too.

'Seven Is a Jolly Good Time' is a happy and musically complex, organ-centred song, and a fine example of Canterbury prog at that. I think of the early SOFT MACHINE as their kindred spirit. Mont Campbell is a pretty good vocalist, and already that alone makes Egg sound nicer (!) than their better-known contemporaries The Nice. The lyrics tell of a boy who starts "writing songs in all the rhythms I could find". The brief song toys with odd time signatures while the structure featuring a suitable amount of chorus repetition keeps it relatively accessible in its quirkiness. The monomanic "really doesn't matter - squeek! - really doesn't matter - squeek! - really doesn't matter - squeek! - really doesn't matter" section is rather similar to certain moments, a decade or more later, by bands such as Talking Heads, 10cc or the 80's King Crimson... The sound quality is very good for the sixties, it doesn't suffer from the echoey psych vibe like the Caravan debut album.

'You Are All Princes' is a bit longer song at 3:45. Not quite as quirky, but no less interesting or good-sounding [proto-] prog song with a psychedelic edge. Organ sounds terrific, and later a harpsichord joins in merrily, at first bringing Floyd's 'See Emily Play' in mind. Melodically both of the songs in this seminal single are charming. And what's increasing their value even further, they didn't appear on any of the three albums of Egg. They are to be found on a cd edition of the eponymous debut (1970). One could hardly expect more of a 7" single from 1969. Five out of ten ratings (without reviews) here have given five stars, and I'm glad to agree.

 The Polite Force by EGG album cover Studio Album, 1971
4.16 | 397 ratings

The Polite Force
Egg Canterbury Scene

Review by Luqueasaur

5 stars A distorted cover to a distorted music played by distorted minds: 9/10

EGG's debut had indications of the band's leaning to progressive rock, although their music was at best some sort of daringly uncommon psychedelic rock. It wasn't until THE POLICE FORCE that they decided to exploit the boundaries of their imagination and create dazzlingly complex pieces merged with strange, avant-garde experiences (such as the vile outro of Long Piece No. 3 Pt. Three), focusing mostly on a rehearsed instrumental madness. Their psychedelic tendencies were still present, blatantly visible in the distorted album cover, the track Boilk, and songs' lyrics, sometimes mundane and anecdotal, sometimes mysteriously symbolic.

While in many times this tendency is materialistically translated in distorted synthesizers and guitars, their exploratory - and therefore not exclusively psychedelic - pretensions are dominant. Sure, the tracks sound objectively "Canterbury Scene" (actually, the Moog reminds me of Tarkus' on many occasions) with its typical mixture of experimentation, jazz and psychedelic rock, but EGG makes sure to live up to its title of progressive rock, attempting at every moment to craft creative and unforeseen blends of instruments and synthesizer tunes. Be aware that 90% of the instrumental section is occupied by a variety of keyboards and Moog moods, more often than not accompanied by wicked guitars or, exceptionally at Contrasong, frenetic brass instruments.

The first track, Visit to Newport Hospital, features a haunting proto-metal Moog intro that abruptly transitions to a much smoother and jazzier performance, presenting Mont Campbell's disappointed vocals and a terrific multilayered midsection. The melancholic atmosphere of the track is a reflection of its saddened nature:

Now looking back it seemed to be a happy time [...]

It was a freedom that we'd never felt before

And now we're doing this instead

Shortly after it ends, the very first notes of Contrasong indicate a rise in dynamism, but it isn't until the intricate vocals kick in that the complexity increases exponentially. The experimental tendencies are demonstrated through the oddly played 9/8 main verse with its confusing arrangement of overlapped brasses, piano, guitar and drums; the latter's rhythm pattern is particularly perplexing but also really catchy. If Visit to Newport Hospital is calm, Contrasong is deranged. Even Campbell's voice transitions from its previous moroseness to conformism, as it contemplates Contrasong's lunatic environment with an unnatural calmness, perhaps of a sedated maniac. Its highly cryptic lyrics crystallize the song's enigmatic nature:

Gazing quite vacantly into space one day

sitting up in my bed surrounded by

a few Sunday papers and their colour supplements

all of them superficially interesting

happily unaware that somewhere somebody was aware

that somewhere somebody was awake and well


living on

If you didn't capture EGG's disorderly nature heretofore, they strike it like a brick to your head on Boilk, a strange track strangely reprised from their strange last album. An experimental track featuring a wiiiide array of really, really crazy electronic noises. Moonchild is but a baby compared to this.

Lastly, Long Piece No. 3 is an entirely instrumental song with stratospheric ambitions and a solid performance. Sometimes sweet, sometimes vicious; sometimes distorted, sometimes straightforward; sometimes jazzy, sometimes psychedelic; always unruly, unpredictable, challenging.

THE POLITE FORCE takes the pretension of experimentalism on prog rock to its utmost extremes (at least for 1971) without in any moment losing approachability. A spectacular Canterbury Scene release and an imperative listen to anyone willing to check avant-prog before prog was even a thing.

 The Metronomical Society by EGG album cover Boxset/Compilation, 2007
3.78 | 22 ratings

The Metronomical Society
Egg Canterbury Scene

Review by ALotOfBottle
Collaborator Heavy Prog Team

4 stars Previously unreleased gold!

"The Metronomical Society" is a compilation of Egg's previously unreleased radio and live recordings. This, ladies and gentlemen is the top shelf of progressive rock. Very difficult music, however still stays qualified as progressive rock rather than RIO or Avant-Rock.

Here, you can find the tunes we all know and love like "Wring Out The Ground", "Ennagram" or "While Growing My Hair" as well as rather unknown titles like "I Do Like To Be Beside The Seaside" or "There's No Business Like Showbusiness". The pieces are so satysfying, that you can forgive the poor quality recording.

I am very glad this album came out, being even more of a proof for Egg's eggscelent know-how, musicianship and musical intelligence. This is a must have for all Egg and Canterbury Scene fans.

 The Civil Surface by EGG album cover Studio Album, 1974
3.86 | 206 ratings

The Civil Surface
Egg Canterbury Scene

Review by ALotOfBottle
Collaborator Heavy Prog Team

5 stars After breaking up in 1972, Egg had plenty of leftover material and felt the still had something to say. So, they reunited in 1974 to record Civil Surface (again with a pun in the title like on Polite Force). The trio managed to get a record deal with Caroline records. They invited their friends from Henry Cow (Lindsey Cooper, Tim Hodgkinson, Jeremy Baines) to guest on the album.

This is a mature effort of a band that gives impression of having little concern for fame or fortune. As always, most of the pieces are composed by Mont Campbell, although Dave Stewart brings in his own instrumental parts (some of which he played on Hatfield And The North's debut a year before). Civil Surface shifts towards a more typical Canterbury sound compared to Egg's previous work, although not entirely. The band's classical influences of Hindemith, Stravinsky, Bartok or Schoenberg, as presented on previous releases, still play a crucial role in Egg's sound. Dave Stewart's organ playing is out of this world. Now it has a wider plethora of sounds, as he added a Hohner clavinet to his rig, which gave him a bright percussive sound. Bass playing of Mont Campbell is very unique and goes from funky grooves through classical upright bass-like to experimental fuzz bass passages. Clive Brooks' drumming is precise and accurate. The drummer handles odd time signatures with unbelievable ease. All in all, the musicianship on this Egg release does not disappoint compared to their previous albums. It features all of the characteristic elements of the band.

The album consists of seven pieces. The album opener, "Germ Patrol" starts out with funny high-pitched "ant"-like sounds achieved by Jeremy Baines' work on a gramophone (sort of what he did on Henry Cow's debut one year before). The piece uses a metronome with a bit of reverb to imitate sounds of a mine. The tempo it gives, remains more or less unchanged throughout the rest of the piece. Only a few minutes in, "Germ Patrol" already succesfully sets the mood for the rest of Civil Surface, with its fuzz bass parts, odd time signatures, sophisticated harmonies and arrangements, and smooth, lush Hammond organ sounds. "Wind Quartet 1" is one of the pieces that Campbell worked on after his departure from Egg in 1972 while studying French Horn at the Royal Academy of Music. It only features a chamber horn section consisting of a flute, a clarinet, a bassoon and a French horn. The overall sound reminds a bit of romantic-era anthem of 19th-century hunters, in the vein of Carl Maria Van Weber with a Paul Hindemith-like avant-garde chamber twist. "Ennagram", often hailed the highlight of the album, starts out with a heavy, rapid, complex intro on Stewart's clavinet, bringing the opening of "Long Piece No. 3" from Egg's previous album to mind. The piece loses its agressive quality, but the opening theme still reverbrates in between those extremely varied, dynamic, intricate passages, however in different musical contextx. "Prelude" is probably the most unique track on the album. It has a very pastoral, liturgical character with gentle church-like organ, delicate bass fuzz, which plays a crucial role in the "Prelude's" darkness, and creepy, haunting choir work from The Northettes, which even might bring some of Magma's moments to mind. Drums appear at one point, but play a minor role. Despite its very spiritual or religious character, influences of composers such as Messiaen or Stravinsky are evident throughout through its incredibly elaborate harmonic solutions. "Wring Out The Ground Loosely" starts with a theme that would not be out of place in a heavy prog band, however Egg had to introduce something that saves it from being too easy or uncomplicated. After being repeated a few times, it turns into a jam over a motiff, which Dave Stewart also used on the piece "Gigantic Land Crabs in Earth Takeover Bid" on Hatfield and the North's debut album. "Nearch" is another piece written for the wind section, but with help of Mont Campbell's piano and Clive Brooks' heavy drumming. "Wind Quartet 2", which closes Civil Surface, is a sort of a reprise of the first part. Stylistically, fairly simillar to it, however a bit mellower and more dreamy.

Civil Surface is an outstanding album that is a masterpiece of progressive rock music. Lying on the crossroads of Canterbury scene, avant-prog, and eclectic prog, this album is probably not an essential progressive rock work, but an extremely original, well-composed, and well-played release.

After Civil Surface, Egg broke up again to never be seen again. Mont Campbell briefly played in National Health and Gilgamesh. Not for very long, however, as he eventually abandoned music completely, before releasing two Eastern-influenced world-music albums, utilizing only ethnic instruments, starting with Music from a Round Tower in 1996. Clive Brooks went onto a legendary British blues rock act under the leadership of Tony McPhee - The Groundhogs. He still remains a highly sought-after session drummer today. Dave Stewart remained a prominent figure in the Canterbury scene participating in musical projects such as Bruford or National Health to name a few, but also creating carefully-crafted techno-pop with Barbara Gaskin in the eighties. All in all, Egg blessed us with three unique albums, all of which are different, but are time-worthy masterpieces of progressive rock fusing different influences to create a distinctive, unrepeatable sound.

Highly recommended, five stars without hesitation.

 Egg by EGG album cover Studio Album, 1970
3.81 | 270 ratings

Egg Canterbury Scene

Review by ALotOfBottle
Collaborator Heavy Prog Team

5 stars Egg are often labled as a Canterbury scene band. The band's main composer and bassist Mont Campbell admitted he had not even known that until long after Egg broke up. Put lables aside, Egg's self-titled debut album ticks every box of what I'm looking for in progressive rock. At the beggining of 1970, this was way ahead of its time. Leaving the tired psychedelic cliches, Egg were looking for a classical and jazz-inspired sound that would later be heard from acts such as Emerson Lake & Palmer and many, many more. It has it all - musical experimentation, unique arangements, long epics, odd time signatures, strange titles, mystic lyrics, jazz and classical influences. I usually don't do so and do not like to, but I feel it is an absolute necessity for me to review every track seperately. Another fanboy review? Probably.

"Bulb" is a slowed down 8-second recording of a shattered lightbulb with mutliple delay. An odd album opener, giving us the taste of what's to come."While Growing My Hair" starts with a dreamy organ passage, than turning into a jazzy, rolling 3/4 rhythm. The main theme sounds a bit like The Doors at times with Mont Campbell's low vocals. "I Will Be Absorbed" is a lush and mellow, yet complex piece in 7/4, showcasing band's jazzier sensibilities with lush organ by Dave Stewart. Mont Campbell's singing again, does not disappoint."Fugue in D Minor" is a rendition of Bach's fugue of the same title in a very grooving, funky rhythm, letting Dave Stewart show-off his incredibly mature baroque organ skills. The track was allegedly recorded as an album filler. I'm sure glad it was, it's a Egg legendary piece."They Laughed When I Sat Down at the Piano" is a one-minute track, which only features Dave Stewart's Chopin-inspired piano playing. The beautiful romantic melody is haunted by a dissonant tone generator, which sounds like a... like a weeping robot of some sort. "The Song of McGillicudie the Pusillanimous (Or Don't Worry James, Your Socks Are Hanging in the Coal Cellar with Thomas)" is a very avant-garde organ-driven song, which sounds a bit like a progressive rock "extension" of The Crazy World of Arthur Brown's early work. Based on a rapid rhythm in 10/8, it sounds incredibly smooth and moody. Lyrically, it's a perfect reflection of the sound. "Where should I go what should I do. Now that I know can't get away from you. Everyone has something to hide from themselves and now it's too late to go back go right on." This is it. A very interesting track."Boilk" is the most experimental of all. Without any rhythm, this features samples of Mellotron tapes played backwards, forming a sort of heavenly sound collage.

"Symphony No. 2" is one of the first real progressive rock suites. An outstanding work of art."First Movement" is opened by a very, very catchy, avant-garde sounding passage of notes played in 10/8. Next intervals are gradually being added to the main theme creating a unique passage, that is very typical of this album. It resolves into a part of Edvard Grieg's "In Hall Of The Mountain King" than turning into a laidback, hardbop-esque lane with a smooth jazzy jam. "Second Movement" is more classical inspired with dark organ passages. The main theme is borrowed from Igor Stravinsky's "Rite Of Spring". "Blane" honestly sounds like a homage to the electro-acoustic composers, who spent the 60's playing around with tone generators and computers in studios. There are loads of atonal sounds, saturation, "ugly" mechanical effects here, but also some charming, celestial chords. "Fourth movement" is Egg's classic sound! Filled with fuzz-organ, this is the most rock-oriented of the tracks without sacrificing any of its avant-garde integrity. This is the closing of a great multimovement suite. Sort of a let-down, I would expect fireworks and champagne, but I guess we will have to make do without those.

In conclusion, I will never have enough good to say about Egg's debut album. It's that good! Although I'm in the minority, I consider this one of the legendary albums of progressive rock's second league. However, this album is not for everybody. Newcommers shall not be pleased with what they hear. But this album is a must for prog nuts. Not only does it hold a strong historical value as one of the pioneering albums of the genre, but also it is just plain joy to listen to. This will be a very pleasing experience to fans of organ-driven prog and proto-avant-rock nuts alike. Highly recommended, 10/10!

 The Polite Force by EGG album cover Studio Album, 1971
4.16 | 397 ratings

The Polite Force
Egg Canterbury Scene

Review by ALotOfBottle
Collaborator Heavy Prog Team

5 stars Egg's second album, [i]The Polite Force[/i] is easily my favorite album of all time, but more on that in the conclusion. Shortly after their outstanding debut, which still showed the band dipping their toes in the sound of their own, alternating between complex, clasically-informed organ-driven composition and post-psychedelic jazzy proto-prog a la Crazy World of Arthur Brown, Egg set off to record [i]The Polite Force[/i], which elaborated many of the elements we heard on their debut, adding more new qualities to the cocktail along the line, as well as improving the overall formula (one hell of a sentence, isn't it?).

"A Visit To Newport Hospital" is a number somewhat reminiscent of the [i]Volume Two[/i]-era Soft Machine, though much more refined and tasteful that what the Softs were doing on the aforementioned album. It starts out with a heavy Black Sabbath-like opening, which turns into a very smooth, beautiful, nostalgic piece telling about the times back when Egg played with Steve Hillage in the late sixties, under the name Uriel. Lyrics are very poetic and mature. The track is kept in a rather jazzy mood, but with a sense of musical structure more classically-influenced, going through numerous passages and alterations of the theme. "Contrasong" presents Egg's well-trained avant-garde jazz feel in alternating time signatures. As opposed to most tracks, it only features organ in a solo part, most of it is dominated by a piano and a jazzy guest horn section. Mont Campbell's songrwiting also deserves attention for its surrealistic and evocative character. The 8-minute "Boilk" is an extended version of a track from Egg's first album. This experimental cut is the band's experiment with musique concrète and what a good one it is. When one could think this album couldn't get any more confusing and strange, "Boilk" is probably the most "out-there" track the band has ever produced. It features recordings of flushing water, sweet and fruity vibraphone, and ominous mellotron. At times it's atonal and frightening, at times atonal and frightening. The track is ended with Dave Stewart's interpretation of J. S. Bach's "Durch Adams Fall ist ganz verderbt," sounding as if played through a thick sonic fog.

"Long Piece No. 3" is an instrumental, four-part suite, which is opened by heavy, buldozer-like fuzz organ based on what is highly likely most most sophisticated time signature. Every band member plays in different alternating time signatures. Just to give you an example, Dave Stewart plays 7/8, 11/8, 15/8, 19/8 and 23/8 repeatedly. Crazy isn't it? On the contrary, Part 2 is full of pleasant melodies, while the rhythm section gets to rest... A bit. The further two movements of the suite present strong influence of 20th-century classical and avant-garde jazz. All of the members of Egg get a chance to present their virtuosic abilities in a truly entertaining and not-self-indulgent manner. Something to be heard, not exactly described. It could make a thin book!

[i]The Polite Force[/i] is, for me, an ideal, perfect album. No other work in the world of music keeps equal balance between technical awareness, dense atmosphere and originality. Every note seems to carry a meaning and not a single one of them would I take away, change or add. Essential progressive rock album.

 The Civil Surface by EGG album cover Studio Album, 1974
3.86 | 206 ratings

The Civil Surface
Egg Canterbury Scene

Review by Progfan97402
Prog Reviewer

5 stars Usually reunions happen a decade or more later, by which point their new material just never stacks up to the old and is forgotten. For example, Cream reuniting in 2005, but the old bad blood resurfaced (Ginger Baker has serious issues on how to get along with people and he still continued showing his contempt for Jack Bruce). At least they didn't try to embarrass us with new material that will be very substandard and never comparing to their classic material. Crosby, Stills & Nash (with Young sometimes) had frequently reunited through the years and gave us mediocre album after mediocre album. Egg, on the other hand, reunited in 1974, not too long after they broke up in the first place, so obviously not too much time has passed and was able to create another wonderful album worthy of your collection. Dave Stewart was busy with Hatfield & the North, but he felt there was enough Egg material that hasn't been recorded to be recorded and The Civil Surface is the results. While the Canterbury scene was becoming more fusion-oriented (witness the Soft Machine albums from the same time period, and of course Hatfield & the North, and later on National Health), Egg retained it's early '70s sound, it could have easily passed as a 1971 followup to The Polite Force. There are a couple of pieces dominated by wind instruments (Henry Cow members Lindsay Cooper, Tim Hodgkinson and Jeremy Baines appear here) but the rest is classic Egg. Themes from Hatfield & the North's debut show up, probably to let everyone know Dave Stewart's presence, or the fact Hatfield & the North hasn't broken up (and they hadn't, once The Civil Surface was released, Hatfield & the North released their final album The Rotter's Club). I didn't exactly know what to expect from Egg in 1974. The music by this time seemed behind the times, more fitting for 1971, but in the case of Egg, this works on their behalf. I was expecting a more full-on fusion brand of Canterbury more in tune with the likes of Hatfield but instead get more of the great early '70s Egg sound. I can only say that if you have their first two albums, you need this one as well!
 The Civil Surface by EGG album cover Studio Album, 1974
3.86 | 206 ratings

The Civil Surface
Egg Canterbury Scene

Review by BrufordFreak
Collaborator Honorary Collaborator

5 stars Mont CAMPBELL, Dave STEWART, and Clive BROOKS' final EGG album was released over a year after the the band had broken up and the trio had gone separate ways. It was the incessant insistence of a small but vocal fan base that got the band to finally record some of the as-yet unrecorded material--which had been fan favorites from their live performances--that Dave gathered Clive and Mont back into the studio with a bunch of his current band members from Hatfield and the North, as well as a few other friends with whom he had recently worked--like Steve Hillage (on "Wring Out the Ground") from their KHAN collaboration.

1. "Germ Patrol" (8:32) opens with a cute Alice and Wonderland feel to it--even as the calliope-like organ, walking bass line and beating of the toms play along in a kind of circus way. I think, from it's title, that it's supposed to sound millitaristic but it's too fun and quirky to do so. Definitely in the "tongue-in-cheek" realm of musical renderings. Even the 'conversation' of multiple keyboards in the sixth minute seem comical. The ensuing "buzz bass" solo is the song's most serious moment but it is bookended by Dave's circus-like organ and piano play. I like the horns around 6:50 and the French horn solo to fade. A very memorable if not awfully melodic song suite. (10/10)

2. "Wind Quartet 1" (2:20) is, truly, a wind quartet, complete with flute, clarinet, bassoon, and French horn (though I swear I hear an oboe, too). Nice piece with a nice, very British, more classical than jazz, arrangement. (9/10)

3. "Enneagram" (4:13) has Dave Stewart using an organ sound that is much familiar to us for its bombastic use by Keith Emerson around the same time in his early ELP concerts and recordings. A rather exciting uptempo song with wide dynamic variation. (9/10)

4. "Prelude" (4:18) has some of that classical church organ sound dating back to EGG's first album. Dave's cerebral experimentation is matched by Mont's bass play with no drum or percussion play until the 1:15 mark. The surprise entry of the odd choral section as presented by the future "Northettes" is a bit discordant and disruptive, but no weirder than the solo organ play to the song's end. I guess it all works in the scheme of the whole "prelude" thing. (8/10)

5. "Wring Out the Ground (Loosely Now)" (8:11) is a cool song that opens with some very odd lyrics being sung out by Mont and then a section of experimental sound/noises before the actual song foundations are allowed to be established--over which some nice keyboard soloing occurs before everything slows down again at the 5:50 mark for Mont's vocal to continue. This is a very strong section of the song--very solid and confident sounding. (9/10)

6. "Nearch" (3:12) is another neochamber piece with Mont's French horn, Clive's precision drum accompaniment, Lindsay Cooper's bassoon and Tom Hodgkinson's clarinet, with Dave Stewart playing bass! Interesting exercise/ étude. (8/10)

7. "Wind Quartet 2" (4:48) finds us returning to the flute-dominated winds of the third song. Some nice medieval- like melodies and moods evoked here. (9/10)

My only problem with The Civil Surface is that it feels so cerebral--as if Mont and Dave were working out very complex mathematical formulae together through their musical collaboration. This just makes the music a little colder, a little less accessible to me, the listener. No wonder Clive wanted his drums to be loud and forward in the mix! This concludes the band's last album. Egg were a short-lived Canterbury band that definitely displayed the more classical side of the Canterbury jazz experimentation--and this while the members were only in their late teens and early, early 20s! They just happened to produce, however, some of the most interesting and some of my favorite music from the Canterbury Scene.

 Egg by EGG album cover Studio Album, 1970
3.81 | 270 ratings

Egg Canterbury Scene

Review by BrufordFreak
Collaborator Honorary Collaborator

5 stars I came into knowing Egg with the followup to this one, The Polite Force, which is one of my favorite Canterbury albums. So, the self-titled debut had a bit of a hill to climb to please me. But it does! I love hearing some of the sounds and rhythms that will later come into make the amazing music of The Polite Force! "I Will Be Absorbed" (5:12) (9/10) is an incredible song: great melodies, great singing, pretty tight musicianship. Definitely a favorite! The Bach "Fugue in D minor" (2:45) (9/10) and their own Stravinsky-influenced "Concerto" (20:41) (8/10) are both quite enjoyable--even the trippy, experimental parts of "Blane" are interesting. But the highlight for me is the piano/organ experimental piece, "They Laughed When I Sat Down at the Piano" (1:21) Perhaps a little autobiographical? The two other vocal pieces, "While Growing My Hair" (4:03) (8/10) and "The Song of McGullicudie the Pusillanimous" (5:10) (8/10) sound a bit dated but, again, this is amazing stuff for 19 year olds! This album is especially noteworthy in that within the next nine months you have the release of the much more 'mature' The Polite Force! Amazing! Also, I like Mont Campbell's voice! 3.5 stars rated up for astonishment factor. (Dave Stewart was Uriel's original guitarist?!!!)
 The Polite Force by EGG album cover Studio Album, 1971
4.16 | 397 ratings

The Polite Force
Egg Canterbury Scene

Review by GruvanDahlman
Collaborator Heavy Prog Team

4 stars The Canterbury scene is one of prog's most fascinating sub-genres. It holds within it everything that makes progressive rock so great. The very nature of prog is to experiment, challenge and discover. Sometimes it is even a test of the listener's patience. The heart of Canterbury flows with a quirky seriousness that makes me as a listener to smile. It is a brave and bold take on rock music that simultanously is both endearing and challenging. All in a days work, one might say. As ever, Canterbury is also a genre of great warmth. The fairytale dreaminess of, say, King Crimson's early work is one reference but I feel that it does not hit the mark. It has a tone of it's own, one that is Canterbury's own. And yet this warmth is encircled by the most spiky and challenging, difficult creations ever made. I know that alot of subgenres might fit into this description but Canterbury is to me the optimum of them all. If I wa sto pick out any subgenre that fully embodies prog I'd say "Canterbury". I would. I swear.

Egg is one of the groups engaged in the Canterbury scene. The organ of Dave Stewart is as ever present and recognisable, not only by sound but very much in execution. The man is brilliant. The sound of Egg on this album (as I am reviewing it) is not easily defined. It all kicks off with the heaviest organ riff ever (sort of) but leads into this jazzy, laidback groove which manages to draw strength from an oozing power source. This source of power and might comes, obviously, from the musicians themselves. There is a restrained demonstration of power I find hard to describe. Anyway, the song is amazing and the best of the lot, I feel. It is the track I listen to more than the others, if that accounts for anything.

"Contrasong" is another very good track, built around chords and beats that sound hectic and askew. But all in a good way. "Boilk" is an experimental piece that is interesting and certainly very well performed. It is however very experimental and not one I retur nto with the same urgency as the first two tracks mentioned.

The B-side of the old vinyl, I suppose, is made up of "Long piece", a suite consisting of four pieces. It is also very experimental and complex but very enjoyable. They stretch out and showcases a musical vision that is really somethig to behear. (Is there such a word? I suppose not.) The parts are different, obviously, but when listened to in one long sitting the result is baffling. One might accuse them of noodling but I feel they never enter that empire of Boredom. I am intrigued throughout.

So, when all is said and done I have to say that this album is an essential listen, if you at all is interested in the development of progressive music. If you're simply into good, challenging and diverse prog I'd say this is for you aswell. The impeccable musicianship and vision of the possibilities if musis is baffling, enjoyable and very much endearing. It has stood the test of time very well and offers a great listening experience.

Thanks to ProgLucky for the artist addition. and to Quinino for the last updates

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