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MAGIC BUS

Canterbury Scene • United Kingdom


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Magic Bus biography
Formed in 2010 in Totnes, Devon, UK

MAGIC BUS are a band that freely admits that they think they are still producing music of the psychedelic era of the 1960s and early 1970s. Their sound definitely conjures up early psychedelic jazz of Canterbury Scene bands CARAVAN, SOFT MACHINE and STEVE HILLAGE though it also takes inspiration from the psychedelia coming from the West Coast of the USA in the late Sixties (specifically JEFFERSON AIRPLANE, THE GRATEFUL DEAD, CROSBY, STILLS & NASH).

The band features one time KULA SHAKER member and OASIS sideman, Jay DARLINGTON on vintage keyboards, singer-guitarist Paul EVANS, Terence Waldstradt on lead guitars, and Viv GOODWIN-DARKE on flute. In 2011 the band self-released their self-titled debut album and, in 2014, the follow-up,'Transmissions from 'Sogmore's Garden'.

::BrufordFreak::


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Buy MAGIC BUS Music


Transmission from Sogmores GardenTransmission from Sogmores Garden
Imports 2015
$19.99
$12.98 (used)
Phillip The EggPhillip The Egg
BACTG 2017
$21.99
Magic BusMagic Bus
Imports 2015
$19.93
$6.41 (used)
Seven WondersSeven Wonders
FRUITS DE MER 2015
$99.00
Lost In CirclesLost In Circles
Bip Bip Records 2011
$15.99
Baby BirdBaby Bird
Bip Bip Records 2010
$15.99

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MAGIC BUS discography


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

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

4.18 | 43 ratings
Magic Bus
2010
4.02 | 63 ratings
Transmission From Sogmore's Garden
2014
3.85 | 68 ratings
Phillip The Egg
2017

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

MAGIC BUS Videos (DVD, Blu-ray, VHS etc)

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

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

3.00 | 1 ratings
Magic Bus / Milky Way
2011
4.00 | 5 ratings
Seven Wonders / Eight Miles High
2015

MAGIC BUS Reviews


Showing last 10 reviews only
 Magic Bus by MAGIC BUS album cover Studio Album, 2010
4.18 | 43 ratings

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Magic Bus
Magic Bus Canterbury Scene

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars Canterbury is back! Wonderful, wonderful fare from Devon's Paul Evans and friends. Nobody but nobody has so well captured the CARAVAN 1970-72 sound so well! And yet the songs are each pure and original (with a few borrowed riffs here and there). Excellent musical composition. Wonderfully quirky, hippyish lyrics and happy-go-lucky singing with outstanding contributions from guitars and flutes. Hailing from "transition town" Totnes, Devonshire, UK, Tim has gathered around him a dedicated crew of accomplished musicians who all have one thing in common: they feel that the spirit of the late 1960s and early 1970s--especially the musical spirit of the San Francisco psychedelic rock scene and the Canterbury spirit of SOFT MACHINE and CARAVAN--is still alive and that they are merely expressing themselves in that same spirit.

The album opens with the innocuous little celebration of Nature and the joyous gift Life, "Sunflower" (3:51). It is very much a piece straight our of the hippy folk scene of the 1967 "Summer of Love." (9/10)

2. "Ballad of Lord Sogmore" (5:15) starts out sounding like it came straight off of the 1972 KHAN album, Space Shanty. The acoustic guitar strumming, electric guitar sound and riffs, and Jay DARLINGTON (formerly of KULA SHAKER and OASIS)'s vintage keyboard work make it a dead ringer for Canterbury Scene music. Even Paul EVANS' voice is quite similar to that of Steve HILLAGE (though it is also quite similar to that of Mont CAMPBELL). Then there is the Indian interlude, to seal the deal, before we kick back into KHAN-mode for awesome organ and electric guitar soli. (9/10)

3. "Cosmic Rays of Dawn" (3:47) opens with a gentle Canterburian soft jazz feel with arpeggiated organ chords and single note electric guitar accents before Evans' Robert WYATT-like voice sings a WYATT-like lyric in that emotionally vulnerable Robert WYATT way. At 2:36 an up-tempo, jazzy instrumental section with its trilling flute play ensues to the song's end. (10/10)

4. "Three Days" (7:32) opens quietly before a "Golf Girl" kind of groove establishes itself and the band and the flute play on about the sun, sunshine and nature. At 2:15 a muted voice sings over a bit of a tired-sounding carnival sound. Then, after a little jazzy bridge, by 2:55 we're back to the perky walk-through-the-park song established after the pastoral opening. At 4:10 we shift into a more somber, slowed down instrumental section that preludes a kind of FOCUS "Tommy" section. Very cool! Great groove and awesome guitar play and sound! Flute takes over the soloing around 6:10--for quite a stretch--before that old friend the Canterbury "buzz saw" organ takes a turn. The band in the background is having some fun with it's syncopated up-tempo, and then it's over! (10/10)

5. "Jupiter 3 AM" (8:37) opens with some very spacey synth washes fly around before Paul starts singing with his slowly-paced and well-spaced acoustic guitar strums. Then the full band joins in and the song slowly builds into a foundation for some jazz noodling--which then rather abruply dissipates into more of an instrumental étude. Then the music shifts into a chord and melody sequence that is quite reminiscent of that of NENA's "99 Luftballons" for about 20 seconds before bridging back to a minor key version of the opening music. At 4:55 a slow-bouncing organ and flute prep us for a full decibel breakout into a hard-rock variation on that NENA chord sequence. This then evolves into a swirling, speeding crescendo before some heavy chords are struck in syncopation before letting the music re-establish that happy-go-lucky NENA theme as it was in the fourth minute. Electric guitar and flute get the most solo exposure as the song plays out the final 75 seconds like this. Nice jazz excursion! I just love Jay DARLINGTON's mastery of the Canterbury organ sounds. (9/10)

6. "Seven Wonders" (5:33) opens like an early PINK FLOYD song before Paul EVANS' gentle vocal enters singing in a sensitive Robert WYATT/Steve WINWOOD/Peter GABRIEL way. Love the interplay of the recorder! Slow, plodding song--again, very much in the PINK FLOYD vein continues until 2:55 when a CSN&Y/AMERICA-like harmonized "la-la-la, la-la-la-la-la-la-la-la" bridges us to a heavier CARAVAN-like instrumental section--which just as elusively fades into a flute with guitar strum part before giving way to the real meat of the song: a full out Mike RATLEDGE-like "buzz saw"organ solo! This song has more trouble establishing itself--establishing a flow and identity, but it is still a brilliant reflection of all-things Canterburian. (8/10)

7. "Morning Mantra" (6:55) returns us to that happy-go-lucky CARAVAN music In the Land of Grey and Pink era, with a vocal very much in the style of the great RICHARD SINCLAIR. Flute solo fills most of the third minute before the vocal returns over a delicate arpeggiated descending chord progression. "I love my life" is the dominant lyric in this lazy song expressing one's slow morning love and appreciation for life and all it has to offer. Nice flute and electric guitar interplay in the fourth and fifth minute instrumental sections. "Love, love, love, love," seems to be the message here. You dig? (9/10)

8. "Earthpod" (4:44) the album's final song opens with fade in Mellotron giving way to a gently strummed guitar to support Paul's vocal about this tiny little planet we live on in a kind of lament for the passing of time (which one cannot help but wonder if his intention is with regards to the listening to this album or since the idyllic days of the 60s?). Organ support and the end of the first verse result in the entrance of the full band and the establishment of a more KHAN/STEVE HILLAGE song sound and melody (like "Hollow Stone"). Beautiful! Return to singing the second verse--this time with full band in subtle support (Mellotron, high-frequency flanged electric guitar, drums and gorgeous b vox!) Jay's Mellotron is actually given a solo in the fourth minute! The album closes with harmonized "Ahh"s and emotional flute solo. Gorgeous! (10/10)

A near-masterpiece of progressive rock music. This album is so upbeat and refreshing--and polished! Truly a resuscitation of much that was once wonderful in the Land of Canterbury! One of my favorites from 2014!

 Magic Bus by MAGIC BUS album cover Studio Album, 2010
4.18 | 43 ratings

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Magic Bus
Magic Bus Canterbury Scene

Review by Mellotron Storm
Prog Reviewer

4 stars I had to track this one down after really enjoying their sophomore release "Transmission From Sogmore's Garden" and while I feel this is a step down from that one I still highly recommend this their self-titled debut. Love the cover art on this album by the way. Like the second album I thought of Canterbury with that distorted organ along with GONG and VIOLETA DE OUTONO.

"City Of Sand" opens with spacey atmosphere before a slow but catchy rhythm kicks in then the guitar starts to play over top before it kicks into a full sound with organ. Nice bass before 1 1/2 minutes then the song changes completely after 2 1/2 minutes as we get a calm with vocals and strummed guitar. It does build some with bass and drums but it's still laid back. I like his voice. Back to that catchy rhythm before 5 1/2 minutes then the vocals return.

"Magic Bus" is a song the kept getting stuck in my head this past week. We hear the sounds inside a bus before we get these CSNY-like vocals and harmonies that take over. Love the distorted organ, very Canterbury-like. What a feel good song this is when the vocals arrive along with the harmonies on the chorus. More distorted organ after 3 minutes followed by flute then guitar to the end.

"Gods Of The Mountain" is such a relaxed tune with almost spoken vocals to begin with. A slow beat, bass, keys and guitar in this slow moving start. It picks up after 2 minutes but then settles back with flute as the vocals step aside. It sounds like mellotron before 4 minutes followed by those almost spoken vocals. It picks up with flute then the guitar takes over. It becomes more passionate as well.

"Tucan Pyramid" opens with harp. Did I just say harp? Also relaxed vocals as harmonies and organ follow. It picks up 2 minutes in followed by distorted organ. It picks up even more then the guitar leads followed by organ as they continue to trade off. "Holy Road" is live and it does sound different as the sound quality isn't as good but it's fine. A folky tune with vocals and guitar leading the way.

"Milky Way" opens with nature sounds as this guitar melody arrives and rises in sound. GONG comes to mind with this song. Soon bass, flute and more join in but it's still mellow. It kicks into a fuller sound before 1 1/2 minutes. That guitar led melody from earlier is back and the vocals return as well. So good! Love the bass here too along with the flute. The tempo speeds up quite a bit surprisingly 5 1/2 minutes in but again check out the bass.

"Back To The Garden" is my favourite but the rest are all fairly consistent and well done so no top three this time. Birds can be heard in the intro as relaxed vocals and harp join in. Vocal melodies and organ follow then it kicks into gear before 2 minutes. Man this is amazing! Nice guitar 2 1/2 minutes in as the vocals step aside. Check out the bass 3 minutes in as the vocals return. Oh my! A nice instrumental section follows with organ before 4 1/2 minutes. A calm with vocals a minute later then it kicks back in again without vocals this time. Great tune!

Another solid album by these Brits and having heard they just released a new one, well I obviously need to track it down and get back on that hippy bus.

 Phillip The Egg by MAGIC BUS album cover Studio Album, 2017
3.85 | 68 ratings

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Phillip The Egg
Magic Bus Canterbury Scene

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars England's revivalists of the Bay Area psychedelia and Canterbury Scene have returned with another collection of one that flows and develops slowly in its complexity and dexterity over the course of the album. As a matter of fact, it seems to me upon repeated listens that the opening songs are fairly simple and pleasant and innocent while the trend progresses toward more expressions of anger and discord towards the end of the longer songs and the album itself.

I would have liked to hear more instrumental expressivity and complexity but am exceedingly happy for the input of this collection of songs that take me to a place that was much more innocent and carefree.

1. "Mystical Mountain" (8:50) a nice epic with simple Canterbury-lite (witty a la CARAVAN) approach to the vocal sections. The instrumental sections are more experimental but very subtly so. (8.5/10)

2. "Fading to Light" (3:36) absolutely gorgeous study in sound and space. I think the band are showing true signs of commitment to one another in diving deeply into their chemistry and technical proficiency. (10/10)

3. "Trail to Canada" (5:43) the first half is a bit innocuous but then a big shift and a rocking psychedelic second half lifts it up into memorability. (8.5/10)

4. "Zeta" (4:34) electronic psychedelia (reversed tracks) play from beginning before JEFFERSON AIRPLANE-like sound and structure establishes itself. The ethereal mid-section is interesting--perhaps a bit out of place. Nicely performed though there are a few sections that are a little drawn out with little or no development. (9/10)

5. "Distant Future" (7:11) is by far the most demanding both compositionally and of the listener--which is a good thing for this band. Discordant, edgie and syncopated, though still psychedelic--at least, until the fourth minute when a chorus temporarily gels it all together. The song returns briefly before going Fripp on us with some interesting lead guitar. I like the band's adventurousness here though it doesn't necessarily result in a beautiful or "shout about" song. (8.5/10)

6. "Kepler 226" (6:41) an instrumental that once again displays the band's cerebral commitment to technically complicated musics. (8.75/10)

7. "Kalamazoo" (3:30) a surprisingly sedate, more-acoustic-oriented approach to the band's sound. Nice but nothing extraordinary here. (8/10)

8. "Yantra Tunnels" (5:04) opens with harmonium and other Indian-sounding sounds. In the second minute Western instruments like drums and electric guitars enter and take over. This one rocks--like a good rockin' German Krautrock song from the 1970s. Even when it amps up a notch in the fourth minute it still (or even more) retains that Krautrock feel. (9/10)

4.5 stars; an excellent submission of psychedelic Canterbury-esque music. I predict that MAGIC BUS's next album is going to be a true masterpeice!

 Phillip The Egg by MAGIC BUS album cover Studio Album, 2017
3.85 | 68 ratings

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Phillip The Egg
Magic Bus Canterbury Scene

Review by Warthur
Prog Reviewer

4 stars Magic Bus have pretty strongly established their style in the two albums preceding new release Phillip the Egg, and they don't really deviate from it here - again, it's an intoxicated bland of Canterbury-esque whimsy (drawing largely on the warm humour of Caravan and the mystical interests of Gong) with West Coast hippy sensibilities, as well as tight jamming in the instrumental sections reminiscent of the overlap between Ozric Tentacles and You-era Gong. If that sounds like the sort of thing you'd enjoy, then you're in luck, because that's exactly what hatches out of this egg. If you've heard Magic Bus's preceding albums, you pretty much already know what to expect here and whether or not you'll like it.
 Phillip The Egg by MAGIC BUS album cover Studio Album, 2017
3.85 | 68 ratings

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Phillip The Egg
Magic Bus Canterbury Scene

Review by phil dud

4 stars Magic Bus' new album 'Phillip the Egg' starts with 'Mystical Mountain', a jaunty, infectious tune with a lovely burbling guitar sound, that bridges the gap between this offering and 2014s 'Sogmore'. However, the second (instrumental) part of the track heads us into a jazzier, spacier direction that gives a good indication of where the band seem to be progressing. There is great interplay between Darlington's impressive keyboard work and Waldstadt's nimble guitar. After the frenetic final section of Mystical Mountain, Fading Light comes as a period of blissful, pastoral calm. Trail to Canaa, to my ear, seems to combine an almost folky 'feel' with a chunkier keyboard sound, not unlike that used by some of the classic 70's Italian bands. Zeta and Distant Future possess almost 'Gong-like' riffs but are augmented by beautiful vocal harmonies. At the stage of writing, Kepler 22b is the standout track. It is, to my mind, the most 'progressive' track on the album and combines everything I love about Magic Bus. The band are fantastic musicians and this track showcases their talents from Mellorz' agile bass runs to Darlington's beautifully layered keyboard sounds, via Waldstadt's flawless guitar work and Goodwin-Darke's lovely flute figures. Paul Evans vocals are distinctive and beguiling and perfectly match his musical and lyrical vision. 'Phillip the Egg' is an outstanding album: brilliantly balanced, superbly recorded and musically rich. Put simply, it is the best album I have listened to in the last ten years and represents, for Magic Bus, a big step forward from their previous (excellent) albums.

Music, like all the Arts, is a reaction to and against what has gone before and it would be easy to simply compare the band to artists such as Gong and Hatfield and the North. There are obvious influences, but the band combine brilliantly to bring something fresh, vivid, new and exciting to the table. (4.5 stars)

Phil Dudman

 Phillip The Egg by MAGIC BUS album cover Studio Album, 2017
3.85 | 68 ratings

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Phillip The Egg
Magic Bus Canterbury Scene

Review by SteveConrad

4 stars Magic Bus 'Phillip the Egg' 'enter the astral porthole.

I was provided a preview copy of this album by the band.

MAGIC BUS is a Totnes, Devon-based band performing in the Canterbury Scene/West Coast vibe sub-genre within Progressive Rock Music. Current members: Paul Evans, Jay Darlington, Terence Waldstradt, Wihll Mellorz, Viv Goodwin- Darke, and Mitch Pike.

'Phillip the Egg' is their third album, set to be released May 1, 2017.

I'm no expert in the Canterbury Scene school of progressive music, let me be clear. I've learned a bit from reading an essay in Progarchives, the progressive rock 'bible'. I've heard some Caravan tracks, and a few of the names of the early musicians, like Steve Hillage, Robert Wyatt, Richard Sinclair have some resonance.

But my tastes lean more toward the symphonic and metal edges of progressive music and there's always plenty to discover and to hear.

I am, however, old enough to remember- and even to participate in to some degree- the free-love era of hippies, Woodstock, love, peace, and drugs.

In addition, I relate to this album by MAGIC BUS because although they don't explicitly say so, there's plenty to suggest that at least some members love fantasy and science fiction. The band logo itself suggests Tolkien-esque runes (Elvish, of course), and the titles of the 8 tracks on this album also suggest the sort of epic voyage found in the best of those genres of literature.

So I approach this album as a musician, writer, reader, and fan of progressive rock music, and find in it sophistication, subtlety, fine ensemble playing, thematic repetition that helps build and release tension and many layers of texture and sound.

The context of the album, the title, the band's name, the members and their appearance, and their statements in public places cause me to believe they have made some commitments to the same sort of hippie vibe in which I grew and for a time embraced.

I heard this album as an expression of the longing for a simple, clean, peaceful, loving world, that so often seems to contrast with current reality. Hippies had the dream of a counter-cultural revolution, fighting non-violently against 'the System' and 'the Man' who were emblematic of structure, rules, order, bureaucracy, conformity, and submission.

MAGIC BUS with 'Phillip the Egg' appears to push in that direction via a cosmic journey, utilizing throw-back musical forms and sounds that encourage reminiscence about the '60's and '70's. However, the format suggests these musicians don't see the revolution able to save what this society, this world, has become.

I generally review albums via headphones, and was impressed with the layered, subtle musicality, the depth of keyboard sounds, the use of the flute, the interplay of guitars from clean to driven sounds right and left and center, along with excellent vocal lines and harmonies. The rhythm section was never showy- crisp drums alongside the roots-y bass-lines that sometimes took the lead, but were worlds away from the kind of in-your-face playing of Chris Squire or Geddy Lee.

In fact what I appreciated was how varied, changing, evolving, and engaging each track became, using a multitude of instrumentation and sound- mellotrons, synths, vibes, flute, and piano, plus the already mentioned guitar layers. None of this was the focus however.

Rather, it seemed to be the ensemble, the totality, that was the focus here. I caught flavors of the Middle East, and perhaps some Spanish sounds, and the use of repetition, yet varying. There might be bombast, as in Kepler 22b, but it would then evolve into something else.

Phillip the Egg became escapist, in the way Tolkien was escapist, yet also provided some commentary on contemporary times.

I found this an engaging, enjoyable musical experience. On a ten point scale I'd rate it 8.5/10- pretty darned strong.

 Transmission From Sogmore's Garden by MAGIC BUS album cover Studio Album, 2014
4.02 | 63 ratings

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Transmission From Sogmore's Garden
Magic Bus Canterbury Scene

Review by Warthur
Prog Reviewer

4 stars On their second album, Magic Bus continue their style of psychedelic-oriented, Canterbury-influenced music, once again producing material reminiscent of the angle that Land of Grey and Pink-era Caravan or Khan produced in the early 1970s. This time around, a bit more West Coast hippy folk rock influence is brought into the mix, with the album opener Sunflower in particular being rooted in that style, which makes this a bit more a mixed bag of an album. This isn't quite the amazing eye-opener that the band's debut was, but it's an interesting consolidation on the foundations laid there and I remain interested in seeing where the Magic Bus takes us next.
 Magic Bus by MAGIC BUS album cover Studio Album, 2010
4.18 | 43 ratings

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Magic Bus
Magic Bus Canterbury Scene

Review by Warthur
Prog Reviewer

5 stars Magic Bus' debut album is an absolutely delightful excursion into mildly Canterbury-flavoured hippie prog. Take Caravan at around the time of In the Land of Grey and Pink and imagine where they would have gone if, instead of taking their sound in a jazzier direction as on Waterloo Lily, they had instead looked back to their psychedelic roots and injected the fairytale tone of Grey and Pink with a bit of West Coast sunshine and maybe a slice of early Steve Hillage; the place you end up may well be along the Magic Bus's route.

This debut album is a charming excursion into a realm of warm, comfy, psychedelic Canterbury-flavoured prog whose benign nature conceals some really neat instrumental chops. It's fantastic to hear some new musicians taking up the baton of this side of prog, and I can only hope there are many more stops for the Magic Bus along its journey.

 Magic Bus by MAGIC BUS album cover Studio Album, 2010
4.18 | 43 ratings

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Magic Bus
Magic Bus Canterbury Scene

Review by NickArvas

4 stars I first came across one of their songs, the dream-like 'Gods Of The Mountain' while I was on this very site. As soon as it was done, I looked up the song, the album and the band, disappointed that so few know about them! The songs on this album move silkily after one another, and for a debut, the result is simply brilliant. The band themselves have said that their music is influenced by bands from the psychedelic era, and this is seen throughout the album. Their mix of folk, psychadelia and prog works, and works very well, at that.

Through their debut album, Magic Bus certainly showed that the Canterbury Scene is alive and kicking. From smooth, velvety rockers, to calm, silent little numbers, their music is quite exquisite. If you are into more of a hard rock styled Prog (a la Jethro Tull), you might not be into their albums, and their lyrics aren't top notch (good, but not great), but this is a band that one comes to love through their simplicity.

This band is no innovator, nor can they be called revolutionary, but this does not take away the fact that is one great band. Give them a try and I assure you, you will not regret it.

 Transmission From Sogmore's Garden by MAGIC BUS album cover Studio Album, 2014
4.02 | 63 ratings

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Transmission From Sogmore's Garden
Magic Bus Canterbury Scene

Review by Hailemon

4 stars I stumbled upon this release by sheer accident (a review on the home page) and it's one of those rare occasions, when an album grabbed me from the get-go. I cannot stress this enough: this is a record that no fan of Caravan Mk1 can afford to miss. Now, I love my Caravan, however, I've always regretted that they never tried to recapture the stunning beauty and timelessness of the Grey and Pink sound. That 1971 album is for me the pinnacle of the prog genre and to be fair it would probably be impossible for the band themselves to achieve that unique atmosphere once again, even if Dave S. hadn't left (as can be witnessed on Back to Front , that last LP - which I love and feel is unjustly forgotten btw - by the original lineup) . Must have been one of those right place-right time things (plus a fair deal of punkweed fumes in the air).

Well, with this album my dream has been fulfilled, as Magic Bus recreates that folk-pop-prog sound of the third Caravan LP perfectly. The singer sounds remarkably like Richard Sinclair, the organist plays with the "Dave Sinclair 1971 Sound" dial turned to 11, and there's a fair deal of Jimmy Hasings-like flute parts (and also some Khan-like parts - man, these guys really know what's best in Canterbury). Pure bliss! And while Magic Bus' songwriting skills don't quite reach the dizzy heights of their heroes', there are no duds here and each track offers something memorable. I just wish some of them would go on for a bit longer. It seems as if they were afraid of extended instrumental jams (give me more of that delicious organ sound please!), or maybe it's just symptomatic of the album quality, when you feel that almost every song is over too soon.

Now to the score. Reading what I wrote above I feel like I'm doing injustice to the band. I mean, they do show some originality and the overall vibe, while surely an intentional recreation of that familiar Caravan sound, is much more pastoral than that of our favourite Canterbury combo (and the guitar is much more prominent). Don't get me wrong it's a great album in its own right, but I feel that those of you who are into Caravan will find the most to enjoy here, so up the rating to 4.5 stars, if like me you've always longed for Grey and Pink Part 2. Anyway this is 2015 and in these post-post-modern times, hypertextuality is the order of the day. So let us embrace this Canterbury sound of the 21st century.

Thanks to historian9 for the artist addition. and to Quinino for the last updates

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