Bill Bruford (& related) ~ England

Bill Bruford's Earthworks (1987)

Since I already added a page for Bruford, I might as well consolidate his other albums here as well. Something like Bill Bruford's Earthworks would normally find its way to the Journals otherwise.

Which is not to say I somehow don't like the music. It's absolutely fine, though it's not my favorite era nor my favorite flavor of jazz fusion. Getting some real ECM vibes here, that pervasive "need to be an adult" sprinkling that underground artists of the 70s felt compelled to do. The wild and wooly previous decade had passed, and everyone got a haircut, and were provided far better studio accommodations while at it. The technology had also improved, much to the detriment of the actual sound being projected. If only a raw psychedelic edge was applied, then it would be curious to hear the music in that manner.

This CD was part of a large grouping on ebay, of which a few of the titles were of interest to me. The rest I treated like throw-ins, like this title, and I'm certainly happy to check them out as I go.

I met Bill Bruford once. It was after a King Crimson concert in Denver circa 1995. We had one those backstage pass stickers. I've never been one to be star struck but my running set were all about it. He was certainly affable. As I reflect, I do recall having a certain "wow, I'm having a 1:1 conversation with Bill Bruford" moment. I tried to be respectful and offer up a more meaningful conversation, though I don't think anything I said captured his imagination. I was put-off by some of his remarks at the time. Some years later, as I thought about it further, I became sympathetic to Bruford. Night after night, talking to the same ol' prog dorks, about the same ol' crap. Though I tried not to be that, I'm rather certain I was just that. He was doing his duty and answering questions in a perfunctory manner. Just like sports figures do today. Tough business.

1987 EG (CD). Booklet with photos and a high brow jazz essay.

10/14/26 (review)

Bruford - Feels Good to Me (1978)

Somewhat typical "all star" cast gathering from the late 70s. The good news here is the strong Canterbury component brought on by Dave Stewart, Annette Peacock, and Neil Murray. I don't really hear any of Bruford's former bands Yes or King Crimson here, which is not a problem. At times the album seems on the border of greatness, but it often falls into the trap of many solo albums - too many disparate ideas and styles. It's a borderline Gnosis 10 to 11, but yes, I have to admit it is excellent on the whole, and much better than most that tried this very thing. Still... it seems it should have been better.

Ownership: 1994 EG (CD). Booklet with liner notes. Acquired in 2014.

10/18/14; 12/20/18 (review)

Also own: Bill Bruford's Earthworks - Random Acts of Happiness

Previously owned: Gradually Going Tornado

12/22/21 (new entry)

Steve Hillage ~ England

L (1976)

I was late to the party on getting the scent regarding Fish Rising. But I was really late in obtaining L. I remember seeing this title in the used record stores while in college during the middle 80s. For whatever reason, it didn't capture my imagination, so I left it there. I'm sure I heard the album prior to 2014, but I couldn't remember anything about it. Well, I could say the same thing now, as I revisit the title for the first time in 12 years.

The album opens up quite unusually with a cover of Donovan's 'Hurdy Gurdy Man'. This is followed by a space rock jam supposedly based on the song, though there's no musical evidence of a connection. It's quite spirited, and takes Hillage's You-era Gong style to a similar spot in the galaxy. It becomes clear at this point that there will not be a Canterbury component as on its predecessor. Rather Gong becomes front and center. The music is a mix of cover songs and Gong styled space rock jams. It's this latter sound that Ozric Tentacles would take forward into the 80s and beyond. There's about 25 minutes of really great music, and the remainder is a bit tedious. Not a bad average, and given its influence on future generations, the argument is strong that the album remains in the collection even if it doesn't always pass the bar.

The CD offers three bonus tracks, including an instrumental backing track to The Byrds' 'Eight Miles High', certainly a better fit musically than the Beatles and Donovan covers that made it to the album. The other two bonus tracks are worthy as well. The LP is still a cheap commodity here in the States, giving the CD the edge in both content and marketability.

Ownership: 2007 Virgin Europe (CD). Booklet with historical liner notes, photos, memorabilia, and recording details. Acquired in 2014.

11/22/14; 9/29/26 (review)

Fish Rising (1975)

Steve Hillage's debut is sort of an amalgam of You-era Gong and Hatfield & The North. Certainly the godfather of modern space rock, Hillage's group looks like a proto Ozric Tentacles, complete with wool caps, goofy names, and crazy song titles. Then there's Dave Stewart, probably the last guy to go in for such tropes, though he has history with Arzachel doing just that. With Hillage. Ah what the heck, one more time going out getting high with the boys (and girls) from school before getting serious. Well, sort of serious. So yea, Canterbury goes space rock. A combination that can be nothing but great, especially if one sticks to protocol. And they did.

This is one of those albums I somehow missed in college, but my running set in the early 90s showed me the way.

Ownership: 1975 Virgin UK (LP). Lyric insert and a label audiophile inner. Acquired in 2014.

First copy: 198? Virgin (CD). Acquired in 1992.

1992; 12/27/21 (review)

Also own: Green

Previously owned: Live Herald; Rainbow Dome Musick

12/27/21 (new entry)

Egg ~ England

Egg (1970)

---Feb 2005

I really love the structured songs on here, some of the earliest prog rock compositions ever written. Much of 'Symphony No. 2' is pretty noisy, with lots of organ freakout. Not necessarily a bad thing, though in this case it's fairly directionless.

---1/19/2026

I thought I'd written recently about Egg's debut, but I was confusing it with The Polite Force. Not that I have that much more to add to those notes above from 21 years ago. A3 has similarities to fellow Canterbury travelers Caravan, primarily with the keyboard progressions and soft, affected singing style. A4 dips its toes into Classical waters similar to ELP. Something of a "credibility" move back then. A6 is their Soft Machine II moment, with its punchy organ trio motif, and arguably the highlight of the entire album. A7 has some uncredited mellotron for its one minute of noise. What I said above about the side long 'Symphony No. 2' remains true. When I reread my notes I was thinking perhaps the organ freakout was more of a Krautrock nature, sounding like Aardvark on their sole album. Oh no. It's just noisy. Painfully so at times. Not sure of the allure of these parts of the composition. So a real hodge podge of structured Canterbury styled progressive rock and messy improv. Legendary work, and a keeper, though one wishes for more consistency.

Ownership: 1974 Deram (LP). Acquired in 1990.

1990 (first listen); 1998; 2//05 (notes); 1/19/25 (review)

 

The Civil Surface (1974)

---Jun 2006 

Recorded four years after The Polite Force, but not really sounding all that different or "modern". The wind quartet being the unusual twist here. When Egg are on, they create some of the most engaging music ever. Like most Egg albums, tends to lose momentum at the end. Seems like Supersister proved you could do the fuzz organ, fuzz bass, drums bit for a whole album and not be boring.

---12/28/24

This last Egg album has never been an A-lister for me. A1, A3, and B2 are your highlights, but they never go to the next level, more or less regurgitating snippets of the past. And the wind quartet is dull honestly. As genius as Dave Stewart most certainly was, this album seems more like a contract obligation work. Stewart was to regain his mojo soon after with Hatfield and The North.

Former ownership: 1974 Caroline (LP). Acquired in 1991.

1991 (first listen); 6//06; 6/3/16; 12/28/24 (review)

The Polite Force (1971)

The album opens with the 8+ minute 'A Visit to Newport Hospital', which is a quintessential Canterbury like number. The opening chords will remind one of Black Sabbath, except as played on the organ! From there, the track unwinds into a marvelous jazzy progressive piece, with those trademark fuzz organ solos, and whimsical melodic British vocals. It is, in fact, darn near perfect. If only the whole album was like this! The 4+ minute 'Contrasong' continues in the same manner, perhaps a bit more towards the jazz spectrum. And then.... Egg completely lost their minds. 'Boilk' is 9+ minutes of painful improvisational noise. One begins to question if there are indeed Homo Sapiens in the room at all. I often wonder why bands of immense talent like Egg feel it necessary to demonstrate that they too can play like a 3rd grader on their first music lesson. What a waste of time really. This leads to the side long track appropriately titled 'Long Piece No. 3'. It's an encapsulation of everything Egg was about up until this time. Wonderful progressions, and memorable melodies, offset by tuneless improvisation. Fortunately Egg cut the excess on the latter, and the composition as a whole is thoroughly enjoyable. A fine album, stripped of masterpiece status due to a near 10 minute nasty stain. Tragedy that.

Ownership: 1971 Deram (LP). Acquired in 1990.

1990 (first listen); 2//05; 8/12/15 (review); 6/2/16

Also own and need to review Arzachel which I might as well add here.

8/16/15 (new entry)

Gilgamesh ~ England

Another Fine Tune You've Got Me Into (1978)

I just came into possession a wonderful prog and jazz rock vinyl collection, thanks to a dear reader of this blog. I will be forever grateful to that gentleman and his wife for their generosity. This constitutes the first album from that collection that I am either revisiting after many years, or hearing for the first time ever. I will be interspersing these listens with my regular regimen. It will take at least a year to go through. In a word - fun. 

For the below review I wrote: "Obviously at some point I need to revisit their two albums again as well.". And here we are, some seven years later doing just that. I have no documentation of this album anywhere in my vast notes, so it's an LP I haven't heard since the 90s for certain. I do remember buying it on a road trip though, thus the first date is accurate.

Another observation from the below: "But if taking Gilgamesh as a jazz rock fusion band, rather than pure Canterbury, the contents are easier to digest." And that's even more true on this album than on Arriving Twice (and the debut I suspect). There are no raveups here whatsoever. It's a smooth, yet complex, jazz rock album. All instrumental, it almost sounds like a Canterbury ECM album. A niche within a niche I suppose. I can get into this when in the mood for some atmospheric grooves.

Ownership: 1978 Charly (LP). Acquired in 2026.

11/9/91 (first listen); 1/18/26 (review)
 

Arriving Twice (1975 / 2000)

When I first picked up the LP of In the Land of Grey and Pink by Caravan at the tender age of 19, I had become an instant Canterbury fan. One that carries to this day. Throughout the remainder of the 1980s I bought everything I could that was related to the genre. Of all the major bands from the scene, Gilgamesh was decidedly my least favorite. I just couldn't understand the allure here.

In 2000, even though I'd already waved off the first two studio albums, Cuneiform released Arriving Twice. This CD promised to be for Canterbury fans who didn't like Gilgamesh. It was rawer, more rocked out. I bit that bait hard - and found myself flopping in the boat barely breathing, getting prepared to become suppertime. To me, it was the same ole Gilgamesh. What is with this band and why does everyone say they are so great? I don't get it I plea'd! 

Well it's 18+ years later, and I haven't heard Gilgamesh since then. Here comes the ever present cheap CD copy wafting by. "Try me again?" it flirts. Yes, CDs and LPs talk to me. I was just explaining that to some nice lady in a white coat the other day. "Yea, sure, OK why not?" I replied.

After hearing the opener 'With Lady and Friend' I'm saying to myself, what the hell Genius Hans, that's exactly what I love about Canterbury! Fuzz organ and raw guitar, just as it is written in the Bible. But it was fleeting and the 18 minute 'You're Disguised' pops in and then I started to hear the Gilgamesh I was more familiar with. But.... I like it now. And why is that? Well it's true that Gilgamesh aren't my favorite sort of Canterbury. They are very much coming from the improvisational jazz wing of the school, and they don't always rock out as I would prefer. But if taking Gilgamesh as a jazz rock fusion band, rather than pure Canterbury, the contents are easier to digest. I've said it many times, but setting expectations is a dangerous thing to do. When I was younger and money more scarce, each dollar had to count. I didn't want mediocre, I wanted greatness every time! The problem there is I was bringing my filter, rather than letting the music come to me.

There's close to an hour of material here, almost all of it very good. Much of the contents are variations of what showed up on the debut album with a few unreleased tracks thrown in at the end. Obviously at some point I need to revisit their two albums again as well. Enjoyable on the whole for certain.

Ownership: 2000 Cuneiform (CD). Booklet with liner notes giving the complete musical history of Alan Gowen and the genesis of Gilgamesh, covering the years of 1966 to 1974. Excellent sound as well for this sort of thing. Acquired in 2019.

2000 (first listen); 2/15/19 (review)

Also once owned: Gilgamesh (1975)

2/15/19 (new entry)

Soft Machine ~ England

The Peel Sessions (1969-1971 / 1990)

Continuing on with the haven't-heard-in-forever project comes The Peel Sessions by "The" Soft Machine. This is a title I recall listening in the car quite a bit upon acquiring in 1996. And not again from then on. This is one of the earlier archival releases from the band, where they have been mined extensively since, most notably by Cuneiform. The first disc of this set had been released prior, as part of the 3xLP Triple Echo album, itself an archival release. In that way this is a reissue with a whole disc of bonus tracks. Soft Machine are a lot like Tangerine Dream in that their live material is mostly improvised, thus making each album unique on its own. To be clear, Soft Machine is working much closer to their original compositions than the true improv of T. Dream. Entirely different style of music which is the primary reason I suspect. One example is the made up lyrics of 'Moon in June' calling attention to their contemporary situation on the radio, complete with adverts. 

The music is comprised of six different sessions from 1969 to 1971 (the booklet leaves out 6/1/71). The first two years capture my personal favorite era of the group, and has them at their energetic best. The 1971 jazzy free improv sections are very much present (especially on 'Neo-Calibran Grides' and 'As If'), and are a bit lesser to my taste. However the entire two disc set does encapsulate the spirit of the original Soft Machine quite well.

Many of Soft Machine's archival albums overlap and run into each other. How many I keep is still up for internal debate. But for certain this title represents an essential entry. 

Ownership: 1990 Strange Fruit USA (2xCD). Cryptic liner notes. Acquired in 1996.

1996; 7/28/25 (review)

5 / Fifth (1972)

I've long been critical of this album stating it's more of a pure jazz album, and really a free jazz album at that (see below). Thus veering far away from my interest area in the band. A careful evening listen had me more sympathetic. Rather than avant garde jazz, I heard more of an atmospheric sound. A noirish type outing. Though there are some irritating bouts of noise that I'll never warm to, mostly Fifth does remain composed. And 'Drop' is Ratledge doing what he does best - fuzz out the organ and solo wildly. I've never owned this on LP, so it's nice to finally find one in the wilds (from our last trip to Detroit). Keeping for now.

Ownership: 1972 Columbia (LP). Acquired in 2025.

First copy: 1999 Columbia Europe (CD). As Fourth / Fifth.

1999; 6/21/25 (review)
 

Six (1973)

Of the first seven classic Soft Machine albums, the only one I do not have a grasp of is today's feature: Six. In fact, I believe this is only the second time for me to hear the sprawling double album, the first time some 20 years ago. In hearing it again last night, my appreciation levels went up considerably and I enjoyed a +1 listen.

The first album is a live recording and is a throwback to their 1969 era of music, where each song segues into the next. Recent woodwinds member Karl Jenkins adds a new found enthusiasm, and even Mike Ratledge seems to be having fun again poking around on his antiquated organ. While it missus the dusty aura of old reel to reels, and certainly has a smoother jazz tone, this will be the closest Soft Machine gets to their original roots. Ironically it also predicts the future, as Seven continues this motif into the studio.

The second album returns us back to the Third era, with long improvised unfocused tracks, but without the free jazz tendencies of the two predecessors, albums I never warmed up to personally. Again, Ratledge's organ and Jenkins saxophone lead the solo and melody parade. And while I didn't mention it for the first LP, the crack rhythm section of Hugh Hopper and John Marshall also sound energized. An excellent album overall.

Ownership: 1973 Columbia (2xLP). Gatefold. Acquired in 2023.

First copy: Columbia Europe (CD). Acquired in 2003.

2003; 11/21/23 (review)

Third (1970)

I had a colleague once who insisted that this one album - yes this one - is the greatest album of all-time. I had been turned off by Soft Machine early, having unfortunately started with Fourth and Fifth. That wasn't my thing then... and honestly they still aren't. Way too much free jazz, which I know many of you enjoy, but we all have our filters. But he was persistent, and let me borrow his commodity CD that I took to work with me everyday for a week. Back then I was still a computer programmer (~1992), so I brought my Discman and just let 'er roll throughout the course of the day. Over time, I understood where he was coming from. It would never be a favorite for me, but at least I could appreciate the inventiveness - and yes it's distinctive enough to be a favorite album for the right listener - I could see that. It was their transition from psych / prog to jazz. Because of this experience, I eventually bought the first two albums, ones I enjoyed immediately. But yea, for 1970 this is some extraordinary material. 

Ownership: 

1970 Columbia (2xLP) Gatefold. Latest upgrade: 2024.

2007 Sony Japan (2xCD). Includes the full Live at Proms 1970 album. Acquired in 2013.

First copy: 1991 Columbia (CD). Acquired in 1992.

1992; 5/10/13; 1/9/23 (review)

Softs (1976)

By 1976, Soft Machine - as one may have known them - were no more. Mike Ratledge was still hanging around but wasn't very involved. By this time you essentially had Nucleus calling themselves Soft Machine. And musically that holds true too. Soft Machine had gone from psych to prog (or Canterbury if you will) to jazz to jazz rock and now onto fusion. As with all the best albums in the latter genre, Softs gets a gold star due to the melodic songwriting versus any kind of show-offy chops display. The album is frontloaded with the best tracks like 'The Tale of Taliesin' and 'Ban-Ban Caliban'. John Etheridge's guitar is the highlight of the instrumental roster. I have friends that never cared much for Soft Machine, but enjoy this album since it intersects with their interest in all things jazz fusion.

Ownership: 1990 See For Miles (CD). Historical liner notes. Acquired in 2004.

7//04; 9/26/22 (review)

Volume Two (1969)

---12/20/18

A very unusual album, in that there's about 16 minutes of brilliant music and a lot of downtime / incidental sounds. The fact that it ends on a high note I think leads to a higher rating / reputation, but a focused listen reveals a lot of gaps. I'm hardly trashing the album at 4 stars - but I do feel I was also swayed by the strong ending as well. Side 1 in particular is pretty weak except for the monstrous 'Hibou, Anemone and Bear' which was a live staple for years. If wanting to hear this album in a more dynamic fashion, I would recommend the superb archival CD Noisette from Cuneiform.

---1/17/23

This listen confirms that sentiment. I think Volume Two has maxed out for me - not seeing how it goes to the first division. Too inconsistent, but the highs go way high here.

Ownership: 1969 Probe / ABC / Command (LP). Gatefold. Acquired in 2022.

First copy: One Way (CD). Acquired in 1994.

1994; 12/20/18 (review); 1/17/23 (update)

Backwards (1970 / 2002)

Cuneiform are the gold standard for all things Soft Machine, and their dogged determination to release anything and everything worthwhile is to be admired. And in my world, anything pre 1971 is worth investigating, and then after that, it's hit or miss. Most of this album was recorded from concerts in May 1970, performed in London. In effect, it's Soft Machine Third live. The band is beginning to really stretch out into jazz norms, something they eventually crossed the threshold over to wholly - and less to my personal interest. I won't claim this one to be essential, like say Noisette is, but for the hardcore faithful, it most certainly is. 

Ownership: 2002 Cuneiform (CD). Historical liner notes. Acquired in 2002.

2002; 1/10/16 (review)

Also own: The Soft Machine; Seven; Bundles; Virtually; Noisette; Live at Proms.

Previously owned: Fourth; Spaced; Live At The Paradiso 1969

1/10/16 (new entry)

Matching Mole. 1972 England

For a band whose name is derived from Soft Machine, and features Robert Wyatt and David Sinclair (Caravan), Matching Mole proves to be a new kind of sound. Not very whimsical, though lyrically very much so. By 1972, Soft Machine had evolved into a pure jazz band, so Matching Mole represents a departure back to their rock roots. A sort of fuzzy jazz rock is presented. The finale - drenched in mellotron - sounds more like an Edgar Froese solo album, yet a full two years ahead of his own obsession with the instrument.

About 18 years ago I added this observation about Matching Mole: "Matching Mole are the wacky, and more demented, older cousin to Hatfield and the North. While Hatfield got straight A’s in art theory, despite being oh so witty, Matching Mole sat in the back of the class and scored a 1600 on their SAT while getting a D- for the semester."

Ownership: LP: 1972 CBS. Single textured sleeve. Acquired long ago from RPM in the DFW area (1989).

1989; 1996; 9//04; 8/8/23 (new entry)

Caravan ~ England

Cunning Stunts (1975)

After Waterloo Lily, Caravan released For Girls Who Grow Plump in the Night as well as the live Caravan and The New Symphonia, both of which I've covered already. So that takes us to Cunning Stunts, Caravan's 6th studio album and their final one for Decca. And it also signifies the end of an era for the great band from Canterbury. Though the band has continued on to this very day, they were never to be the same.

And really, Cunning Stunts signifies more their new beginning versus the past glories. In this way, it represents a different kind of bookend. They've definitely jumped the shark towards pop rock, though there are plenty of elements of their progressive rock predilection. Starting with 'No Backstage Pass', Cunning Stunts offers up an intriguing mix of both styles. This leads to their near side-long epic 'The Dabsong Conshirtoe', a fine energetic effort but faded compared to 'For Richard' or 'Nine Feet Underground'. This is the ride out in the sunset album. If you continue to follow them, you'll receive a Biblical 40 years lost in the desert scenario.

The CD adds three bonus tracks. One is the single version of 'Stuck in a Hole'. Another is an unreleased track called 'Keeping Back My Love' which probably should have been part of the album proper. And the big winner here is the 1974 live recording of 'For Richard' which was only previously on the compilation Canterbury Tales. An excellent performance of one of their classics.

Ownership: 1975 Decca (LP); 2001 Decca Japan (CD). Papersleeve. Liner notes with three bonus tracks. Part of the Caravan box set as released by Disk Union.

1985 (first acquired); 2/9/13; 7/20/22 (review)

Waterloo Lily (1972)

Major changes happened upon the Caravan camp in late 1971 with the departure of key member David Sinclair to Matching Mole. His keyboards, in particular the fuzz organ, and his unique style of playing were out the door. In comes Steve Miller from the band-that-should-have-made-it Delivery. His style is more jazzy and he prefers the Fender Rhodes. So with that, Pye Hastings and Richard Sinclair take a bigger role in the songwriting for their next album Waterloo Lily. And there's quite a drop off in quality overall. At least from my perspective. Having owned this album in the same near-40 year timespan, I've generally regarded Waterloo Lily as their least great album until Cunning Stunts. Note I used the phrase "least great" rather than "worst" because I still think it's a worthy album, just not at the level of the others. Part of that is Miller's influence, or lack thereof. The other is Pye Hastings taking more control over the songwriting - or at least there are fewer progressive rock outings. However there's still two lengthy suites to consider. The first 'Nothing At All' is the jazzy sequence, very good on the whole but not exemplary. The other is why Waterloo Lily can still hang with their classics: 'The Love in Your Eye' which is definitely a look back to In the Land of Grey and Pink. There are a contingent of fans who prefer Waterloo Lily, or at least state it's at the same level as its predecessors. Mostly you'll read that the songs are better, and the other albums were too "jammy". So if you hold a similar opinion about Caravan's classics, and haven't heard Waterloo Lily, then rest assured this might be the album you enjoy most.

Ownership: 1972 Deram (LP). Gatefold; 1972 Brain (LP). Green Brain Metronome; 2001 Deram Japan (CD). Papersleeve. Liner notes with four bonus tracks. Part of the Caravan box set as released by Disk Union.

7//85 (first acquired); 9//04; 1/15/14; 7/17/22 (review)

In the Land of Grey and Pink (1971)

It was the Christmas break of 1984 / 85, while in college. I headed over to Dallas' last Peaches record store which was in the process of closing, and they were liquidating their inventory. Among those in the racks was a sealed copy of In the Land of Grey and Pink. I had no idea what it was, or who Caravan were, but at 99 cents I decided I could afford to take chance with a cover like that.

Welcome to the world of Canterbury! This was my first as they say. Another new world was opened that had eluded me to that time. It was love at first hearing. Opener 'Golf Girl' wasn't so convincing on first blush, but once 'Winter Wine' finished, I knew I needed more of this sound! Whatever it was. I had no idea what Canterbury even meant. I'm not even sure I knew it was a region of England back then. A book by Geoffrey Chaucer maybe? As you all know as you're reading this, the best was yet to come for me. Flip the record over, and up comes 'Nine Feet Underground'. Which is about where I found myself (nine feet underground) as I was completely entranced by the sounds therein. I didn't even realize that the solos were entirely performed on an organ, thinking it was a guitar. Which was the point as it turns out, but it was a new sound for me. So much melody - so many great instrumental breaks. Superb vocals. It is the sound of Canterbury. As I state for my Non-Canterbury Canterbury list on RYM: "The sounds of the style are distinctive: Jazzy, highly melodic, pop influenced yet complex, psychedelic, often times instrumental, insouciant, and pleasant to the ear." We are now 37+ years on from that event, and every time I hear this album (including last night), it only gets better. Only Pye Hastings 'Love to Love You' is a bit tedious and it's here he begins his annoying trait of adding his little "ditties" as I called them on my For Girls Who Grow Plump in the Night review. In any case, this was David Sinclair's great moment in the sun, as he dominates the recording. And then he left afterward, and Caravan would never be quite the same, even though he did return on For Girls... and The New Symphonia.

Conclusion: In the Land of Grey and Pink is one of the greatest albums of all time.

Ownership: 1971 Deram (LP). Gatefold; 2001 Deram Japan (CD) Papersleeve. Liner notes with five bonus tracks including the excellent unreleased 'I Don't Know Its Name'. Part of the Caravan box set as released by Disk Union.

1//85 (first acquired); 1//06; 9/18/19; 7/10/22 (review)

If I Could Do It All Over Again, I'd Do It All Over You (1970)

Continuing on with my retrospective of Caravan. This is the album where they put it all together and is arguably their most consistent work. For my tastes, it's only surpassed by their next release. David Sinclair's fuzz organ comes to the fore, and the melodic quotient is very high. Even on tracks that seem to go nowhere like 'Hello, Hello' and the title track, there are mid section breaks that raise it two points. Guitarist Pye Hastings brings the high register vocals and bassist Richard Sinclair provides the oh-so-British accented baritone. Highlights include 'As I Feel I Die', 'With an Ear to the Ground You Can Make It' (suite), and the monster opus 'For Richard'. This latter track was the signature song on If I Could Do It All Over Again, I'd Do It All Over You, and was played live for many years to come, oftentimes as their grand finale. If for some reason Caravan has evaded you to date, then I can certainly recommend this album as a starting point. Or the next one of course...

Ownership: 1970 Decca (LP); 198? Decca (LP); 2001 Decca Japan (CD). Papersleeve. Liner notes with four bonus tracks  including the unreleased 'A Day in the Life of Maurice Haylett'. Part of the Caravan box set as released by Disk Union. 

I kept the 80s reissue since it was the first copy I found.

8//88 (first acquired); 2001; 7/8/22 (review)

Caravan (1969)

I thought I'd written about all the Caravan albums in the past, but apparently I've only tackled two of them, and not the best ones either. Ha! So time to start a retrospective. Not that I have much to say here. Caravan's history is well documented, and this debut shows the group as a very raw entity at its beginning. Which is part of its charm. They were nowhere near the level of their other former bandmates (from The Wilde Flowers) Soft Machine at this stage of their career. But they caught up fast, and arguably surpassed them in short order. Highlights here include the organ-up-front 'Place of My Own', Jimmy Hastings' first of many cameo's 'Love Song with Flute', and the closer 'Where But For Caravan Would I?' which predicts their future closing opus' that ultimately defined Caravan's place in history.

The CD includes both the mono and stereo versions are included. They also added the 'Hello, Hello' 45 single which technically goes with their next album, but they didn't have the master tapes at the time it was reissued. Shortly thereafter they did find them and added it to this reissue instead. 

Ownership: 1972 MGM (LP). Alternate cover; 2002 Verve Japan (CD). Papersleeve. Liner notes with bonus tracks. Part of the Caravan box set as released by Disk Union.

1985 (first acquired); 6/30/22 (review)

For Girls Who Grow Plump in the Night (1973)

In late 1984, at age 20, I happened upon a sealed copy (US London) of In the Land of Grey and Pink. It was 99 cents. I had no idea what it was, but it looked awesome, so I took a chance and that's about all the money I had anyway. Jackpot. That, predictably, had me go on a Caravan seeking mission. With that prelude, For Girls Who Grow Plump in the Night (again US London) was quickly secured at a used record store in Lubbock called Lipps*.

This album isn't nearly as immediately likable as Grey/Pink is, and it was always on the margins of whether or not I should keep it. About a decade later it finally penetrated through my thick skull, and today I consider it one of their better albums. The thing about Caravan is that you have to sit through what I call the "Pye Hastings' Ditties". They're not bad songs per se, but more geared toward the whiskey drinking nightclub set, rather than the psychedelic backdrop of their best work. And on For Girls, those ditties are front loaded with 'Headloss' (second half of the much better 'Memory Lain, Hugh'), 'Hoedown', and 'Surprise, Surprise'. One can get disinterested early. Suddenly 'C'Thlu Thlu' pops in with an angular King Crimson like sound (also not a known Caravan quality), and it's very disorienting. But Side 2 is as good as anything Caravan ever released. And it closes with one of their best epics in 'A Hunting We Shall Go', which is classic Caravan, with Dave Sinclair's fuzz organ driven solos, just as God had intended music to be. This is the album that introduced long time member Geoffrey Richardson to the fold. His viola is a very welcome addition to the Caravan sound, and one wonders how much better the early albums would have been had he been on them. Caravan were never to reach these heights again, though the follow up Cunning Stunts certainly is worthy of investigation as well.

If in the market for the CD reissue, be sure to find any of the Deram based reissues (starting in 2001), as they feature five bonus tracks. The first four are alternate recordings of the album proper, and are interesting but not essential. The grand prize here is 'Derek's Long Thing'. After Richard Sinclair and Steve Miller departed following Waterloo Lily, there was a lineup that included Derek Austin on organ and Stuart Evans on bass. This is the only known surviving work from that period. Hastings stated that Austin wasn't a good fit for Caravan, because he was "too much Hammond organ". One cannot have too much Hammond organ in my world! This track is awesome, and one wonders what would have been produced had they stayed on board (Richardson was part of the same package).

*Lubbock is in West Texas, and where I attended college. Lipps was one of a handful of good used record stores we had in the area in the 80s. They had taken over an old Piggly Wiggly grocery store, so it was a big place. It closed down while I was still in college (...so last week. Noooooo. 1986 I think?)  But here's the interesting part. Our neighbor here in the suburban Fort Worth area, who lives precisely two doors down from us, is the older brother of the owner of that store! How crazy is that?

Ownership: 1973 Deram (LP). Gatefold; 2001 Deram Japan (CD). Papersleeve. Liner notes with bonus tracks. Part of the Caravan box set as released by Disk Union.

2//85 (first acquired); 1995; 1/31/14; 4/7/17 (review)

Caravan & The New Symphonia (1974)

This concert catches Caravan during their For Girls Who Grow Plump in the Night phase. A fine mix of progressive rock and pop (in that order) are on display, complete with a full orchestra. The version of If I Could's 'For Richard' is splendid here. As is Waterloo Lily's 'The Love in Your Eye'. These are two of the finest compositions in Caravan's canon (perhaps only bested by 'Nine Feet Underground') and the execution is fiery for both, and the orchestra only enhances the experience. In addition to that, if you obtain any of the reissue CDs with the full concert added as bonus tracks, you will hear For Girls' most progressive track 'A Hunting We Shall Go' with a nice arrangement, and was originally the encore to the show. Contrary to some of the reviews I've read, I don't find this album superfluous at all, and holds up well on its own. Though a live album, this is hardly a straight run-through of studio material.

Ownership: 1974 Deram (LP); 2001 Deram Japan (CD). Papersleeve. Liner notes with bonus tracks (the full concert as noted in the review). Part of the Caravan box set as released by Disk Union.

1985 (first acquired); 1/9/16; 10/26/16 (review)

10/26/16 (new entry)

Twenty-Five Views of Worthing. 1972-1973; 1977 England (archival)

Twenty-Five Views of Worthing were like a lot of bands in the fertile early 70s - plenty of opportunities for live gigs, but no time for a proper recording. There were so many musically intriguing groups in those days, it was difficult to get noticed. And even when you did, such as the case with Twenty-Five Views of Worthing, the labels would often put you on the backburner. Had the band come around a couple of years earlier, most assuredly they would have been familiar to us all now. But by 1973, when it was show time, the label lost interest in their shiny new toy. They wanted more commercially oriented music that would sell copy, not another artistic band loved by the critics but the general populace could care less. That label in this case was Island, they of King Crimson, Traffic, and Jethro Tull fame most prominently (in the prog world), but of course many other big names too.

And the type of music that suddenly found itself out of fashion? That of Canterbury, or at least the sound the region is associated with. Twenty-Five Views of Worthing were very much entrenched in that genre. The psychedelic background, the pop sensibilities, the fuzzy analog instrumentation, and the jazzy instrumental breaks define their composition way. In looking for one best track to sample, I'd recommend 'Joke Without Words' which is, not surprisingly, the longest song on offer here. The first 3 tracks come from their earliest incarnation of 1972 to 1973 (including the above). This was to be the recording lineup that Island ultimately shunned. There's one track from 1973 (known as their Transition phase) that shows Twenty-Five Views of Worthing heading more towards a jazz career. Musically it's still not far from Canterbury, but having a full time trombonist will have that effect. The final 3 tracks do come from an existing (though incredibly obscure) 1977 EP entitled Rat Brain Incision. Of course with a name like that and considering the time and place, obviously this will be some sort of punk rock offering, right? Nope - more Canterbury. Never say die I suppose. And the material here is just as strong as what came before it. Remember that National Health were peaking during this era as well. So 48 years after we were to first hear of Twenty-Five Views of Worthing, we now have a proper recording. Hooray. Well worth your time in obtaining especially considering the overall package (see below).

Ownership: LP: 2020 Wind Waker. Gatefold with a lavish booklet filled with liner notes, photos, newspaper clippings, and concert bills. First class job all the way. Purchased this from our good friends at The Vinyl Archivist, who also first recommended it to me.

Scherzoo - Scherzoo 04. 2018 France

When it was announced that Scherzoo 04 was to be a departure from their recent avant prog past, and rather more toward a traditional Canterbury sound, I pounced on the new album first chance. With a quartet that consists of two musicians focused solely on electric piano, organ, and mellotron, I had envisioned a Soft Machine II meets 'Nine Feet Underground' Caravan meets In The Court of the Crimson King. Fuzz organ, gymnastic meters, and lush mellotron. Bzzt. Nope. OK, time to get another beer and try this again...

So what do we have here then? Is it Canterbury at all? Yes, yes it is. The electric piano is the dominant instrument (both keyboardists are credited with it as primary), and the organ plays a key role in the melody lines. Mellotron is definitely relegated to cameo status. The music is quite pleasant, with excellent songwriting, and fine melodies. Most of the tones are played straight, so there's no raucous fuzz solos, or crazy time changes, though it's far from static. Every track is excellent in its own right, though there are no standouts either. It does take a couple of listens to penetrate through, so it takes patience to appreciate for certain. Something akin to Gilgamesh, but more exciting than that may imply.

Scherzoo - and band leader Francois Thollot - are tough to figure out. Thollot has a history that includes Heldon like fierce guitar/electronics, Zeuhl, avant prog, and now Canterbury. Would be most interesting to hear a combination of all the above. And I'm more than fine leaving the squonking sax of album #2 out of the picture, as they have done here.

Ownership: CD: 2018 Soleil Zeuhl

10/26/18 (new entry)

Quiet Sun ~ England

Mainstream (1975)

Quiet Sun's sole album is about as good as it gets when melding the tuneful Canterbury style with that of a ferocious jazz rock band. Love those thick fat analog fuzz tones throughout! The title seems to come from the rejection of the album by multiple record companies who were more interested in obtaining a hit record. Though it appears the A&R gentleman from Warner Bros quite liked the sound and was at least interesting in hearing them live. Island, on the other hand, trashed the sound so. And that's the label it ended up on, so go figure.

Ownership: 1975 Antilles (LP). Acquired in 1993. Reacquired in 2026.

Previously owned: 2008 Arcangelo (CD). Papersleeve.

1993; 12/10/17 (review); 11/4/25

The Muffins - Open City. 1977; 1979-1980 USA (archival)

For my tastes, The Muffins are an entirely frustrating band. Their best work IMO is the archival material pre-1978, which is heavily influenced by the Canterbury movement, and is mostly represented on the fantastic Chronometers CD that came out some 17 years after the fact. The Muffins proper debut, Manna/Mirage, is an album of contrasts mixing lucidly composed, highly melodic, jazz rock tracks - with some of the most annoying tuneless/structureless improvisations ever put to vinyl. In effect, The Muffins moved from Soft Machine II to Henry Cow's In Praise of Learning.

And now we review Open City, which is in reality another archival release. I've owned the CD for many years, but never the LP. This is an important distinction because up until today, I hadn't paid much attention on how different they are - at least in terms of how to approach the album and its final result. As it turns out, the first 7 tracks are (mostly) unique to the CD and come from a concert in 1980. They're in full blown Henry Cow territory here. Since it's compact, it does bring out some of the better attributes of said band, that is to say there are actual songs here to enjoy with wonderful passages and even some fuzz bass, a vestige of their Canterbury past. But it also contains the mandatory checklist that includes monotone female vocals, noisy improvs, and a certain melodic structure that is so predictable, it's laughable - and yet that audience will tell you it's radical and unique and no one else has ever done it. lol, yea OK clique boys. Tracks 8 & 9 are from 1979, and again, we're treated to the Manna/Mirage side of the band. So as I was earmarking the CD for my next sale comes....

...the lion's share of what was on the original LP, itself an archival release from Cuneiform back in 1985. Tracks 10 to 14 are from 1977, and is a wonderful warm and sunny, yet complex, jazz rock with Canterbury overtones. I thoroughly enjoy this era of The Muffins. What a contrast to the edgy atonal later material. 'Not Alone' is the highlight of the entire disc, and it comes at the very end, nearly 50 minutes into it. No wonder I could never figure out why I kept this CD!

In some ways, Open City may be the definitive Muffins album. It captures both of their styles at their best, and is likely to please one or the other type fan, and in many cases both. For me, it's only the jazz rock/Canterbury side that works.

From a rating perspective, I will keep two grades: The LP is a half point higher than the CD - though I recommend the latter oddly enough to obtain the whole experience.

Ownership: CD: 1994 Cuneiform. Jewel case release with booklet filled with historical liners and photos. As noted above, this contains additional archival material to the LP.

2001; 10/11/17 (new entry)

Moving Gelatine Plates - Removing. 2006 France

As far as this author is concerned, the first two albums from the French group Moving Gelatine Plates are as superb as any albums ever recorded. It is, in fact, their raison d'être. As such, I'm separating this newer album from their two classic 1970s works.

It was with great anxiety, trepidation and anticipation that I approached their brand new recording, some 34 years later (not counting 1980’s Moving project). Most reunion albums are disasters, perhaps pointing out that the band in question may have not ever understood why their previous works are held in high esteem. Occasionally a band will reform, like fellow countrymen Magma, and pick up right where they left off and wow audiences as they did in the past. With the original logo intact, and montage cover art, there were some propitious signs to hold out hope. When I heard the loud, aggressive and massively fuzzy bass to start the title track, I was certain that MGP did truly understand their place in history. But my excitement was quickly quelled with the brassy-patch digital keyboard that followed, suggesting this was going to be another modern instrumental rock album that has as much in common with smooth jazz as it does with old school prog (the obscure French 90s band Alambic comes to mind here). And, more or less, that’s about right. “Removing” is much more rock based than the jazzy Canterbury inspired group of yore. The drumming is very straight forward and there’s none of the quirky charm from before. As a plus, the fuzz bass continues throughout, the guitar playing is generally excellent and the violin is a very welcome addition. With one exception, “Removing” is split between two styles: 1) Harder rocking tracks and 2) Light rock-jazz instrumentals with soprano sax in the lead.  Both styles feature some sparse, unobtrusive vocals. Songs such as ‘Like a Flower’, ‘Comme Avant’, ‘Nico’ and closer ‘Theo’ represent the former while ‘Enigme’, ‘Bellidor’ and ‘Waiting For the Rain’ are of the latter. The one track that moves the ball forward in a positive way is ‘Breakdown’, which represents both something new (for MGP), challenging and satisfying, with a slight nod to past glories. So a mixed bag, that neither completely disappoints or rewards. It’s a relevant release and, for reunion albums, comes in maybe a notch below Trettioariga Kriget’s “Elden Av Ar”. It does take awhile for a group to gel and regain that old magic (even for a band like Magma this was the case), so hopefully they’ll hold it together a bit longer and create some brilliance as they once had done. (sigh... it does not appear that transpired).

Ownership: CD: 2006 Musea

10/17/06; 9/15/17 (new entry)

Herbe Rouge - s/t. 1978 France

Herbe Rouge's sole album is very much a "French" album (despite much of it being sung in forced English - bizarre). At its best one can hear the Canterbury sounds of Moving Gelatine Plates, but there's also the somewhat goofy circus cabaret of Komintern to contemplate. Throw in bits of Le Grande Nebuleux and Ma Banlieue Flasque and you're pretty much there. If you have no idea what I'm talking about then... why are you reading this? Well I guess you could be lost looking for another band named Herbe Rouge. Is there another band named Herbe Rouge? Questions...

Personal collection
CD: 1995 Legend

Be sure to pick up this CD on Legend, that has no less than 12 bonus tracks - all quite relevant to the actual LP. The CD took me some time to secure as its fallen long OOP and is hard to source.

Brainstorm - Smile a While. 1972 Germany

Fashion Pink were a band from Baden-Baden, in southwest Germany, not far from Strasbourg, France. Before recording their debut album Smile a While, the group suffered a debilitating road accident, which lead to a band name change - and Brainstorm was born (named after the business technique of "brainstorming" of all things). Their brand of music was clearly influenced by Soft Machine, in that legendary period between "II"and "III" (think Noisette here), and it's a brilliant blend of sophisticated progressive jazz rock, mixed with a whimsical psychedelic pop streak that is irresistible. They were clearly Germany's answer to the nearby French Genius Hans of Moving Gelatine Plates. The title track then goes off into Krautrock land just to ensure we don't forget the influential psychedelia aspects of the early 70s, similar to how Eiliff would do on occasion. So basically in the world of Ashratom, it's absolutely the perfect type of album. Sophisticated, edgy, melodic, memorable, and oh yea, it rocks hard too.

Personal Collection
CD: 1996 Musea (France)

Presumably I don't need to explain why I haven't pursued  an original LP of this... (though I wouldn't pass it up if I was offered one at a good price). The Musea CD is the first official reissue and features a nice sound (though there is some scratchy dropout here and there on the title track and 'You are What's...'), with excellent historical liner notes, photos, and 3 superb bonus tracks (which I believe were also on the Fashion Pink SWF Sessions later released by Long Hair (and also comes highly recommended)). The notes above actually came from the 2009 Lion release that I sourced for comparison. I was hoping for a different presentation, but other than a layout tweak, liner note grammar fixes, and a bit of extra verbiage, it is basically the same in every way (including not fixing the sound flaws), and was fully licensed from Musea. Not a necessary addition if already owning the Musea copy, so off to the sell bin it goes. But if you don't own it, be sure to nail the Lion copy as the other is OOP.  Interesting to note that the only native reissue of this album is the Think Progressive LP.

Amoeba Split - Second Split. 2016 Spain

Amoeba Split are a band from Galicia, in the far northwest of Spain, who play a decidedly UK form of progressive rock: That of the Canterbury movement. Second Split is appropriately enough the band's sophomore effort. It's been 6 years since their debut, and they're now missing one key component - the female voice of Maria Toro. And with that, the late Canterbury sounds of National Health have fled the scene. No matter, as the all instrumental Amoeba Split have stayed the course, and have arguably released an even better album, demonstrating their experience over style. Opener 'Clockwise' is a clear homage to Soft Machine's Third, at that perfect point in 1970 where psychedelic, progressive rock, and jazz meet. Further in the album, 'Backwards all the Time' is once again a tribute to Soft Machine, this time emulating their 1971 sound, and thus tilts more towards the jazz side of the equation. 'Those Fading Hours' blends Canterbury with David Cross like violin, that gives an odd King Crimson vibe, which is unique and very satisfying. 'About Life, Memories and Yesteryears' once again marries Canterbury sounds with something unusual - this time symphonic progressive rock. Perhaps even a trace of Genesis can be heard. But the best for me was 'Sundial Tick' where the band finally demonstrates a bit of their native heritage, though further east towards Catalonia. And hear they blend their trademark sound with that of the classic Gotic album, and is truly splendid. Overall, a fantastic second album, and hopefully we hear from the band more frequently than every 6 years.

Ownership: CD: 2016 Azafran. Papersleeve gatefold

8/12/16 (new entry)

Moving Gelatine Plates. 1970-1979 France (archival)

I had secretly hoped that Moving Gelatine Plates would have archival material sitting in the vaults somewhere. And now we have proof that such a thing exists. Side 1 features recordings from a concert in 1972. 'The World of Genius Hans', 'Astromonster', and 'London Cab' are presented here with fascinating alternate versions of the originals - not surprising given the jazzy disposition of the band in general. This particular concert is after the 1971 studio recording of Genius Hans and features new drummer Alain Clarel. Naturally enough 'London Cab' is the most different of the three, since it's from the debut album. Side 2 contains material from two different settings in 1978 and 1979, when they were officially known as Moving. The first track is called 'Galantine', which is wordplay for 'Gelatine', and it is indeed an excellent rendition of the debut album composition. The shorter 'Syntheme' follows, and is one of the better tracks from their 1981 album. Though in rawer form, which is more pleasant to my ears anyway. Both of these tracks were from a 1978 concert. The 13+ minute 'Like a Flower' is a 1979 home recording of an older track going back to 1970, but never recorded in studio form until the reformation "Removing" album (2006). All 6 tracks are of "bootleg standard" quality. There is quite a bit of loss in these tapes - but the music is definitely recognizable, and at times, revelatory. And certainly enjoyable.

In addition to the album proper, there is a 1970 single that is known to be their first ever recordings. And it is an entirely frustrating experience. The first side is 'London Cab' - an excellent 6+ minute rendition and perhaps the highlight of the entire album. And it's in 33 RPM, which I figured they did on purpose knowing us folks with real turntables have to physically alter the mechanics (no easy switch, that is to say) to obtain 45 RPM. But alas, side 2's 'X25' is indeed just that: 45 RPM. And at only 2 minutes, it takes longer to move things around than it does to hear it. Honestly, I wouldn't bother as it's not much different than the original anyway. To complicate matters, the liner notes have these tracks confused with each other. I assure you, the longer track is 'London Cab' (though not labeled on the disc itself).

Personally, I think all 8 of these tracks would have been better served as CD (or LP) bonus material to the original albums, but Monster Melodies is to be commended for giving the buyer good value for their money considering the entire package.

You can read more about this release (in French) here

Ownership: LP: 2014 Monster Melodies

What you see in the photo is what you can expect to receive on this fine archival release from one of Paris' more famous record stores (and one I've personally been to): Monster Melodies. It's an expensive package, but for diehard fans like me, it would have to be considered an essential purchase (if you still have a turntable that is). So what do you get for your money? The cover is a thick glossy gatefold, and the inside is filled with vintage newspaper articles (all in French). The back of the cover has detailed liner notes of the recordings in English. The vinyl is heavy duty, and pressed in appropriate Genius Hans Pink (perhaps Sherwin-Williams should offer this?). The inserts include an informative band family tree from 1966 to the present, with biographical information (again all in French) on the other side on thick textured paper. As well, a band logo post card with an archival photo is included. As you can see, there is also a single disc that contains their original first recordings. Overall a superb document.

1/24/15 (new entry)

Lagger Blues Machine. 1972 Belgium

Lagger Blues Machine's sole studio album is right in my wheelhouse for European instrumental progressive rock (there are some sporadic voices here and there, but hardly a vocal album). There's a jazzy base to the rhythms, with constant twists and turns, along with plenty of colors provided by the variety of keyboard, sax, and guitar tones. Nothing sits still too long, and all of the sections focus on composition and melody rather than on lengthy, or worse atonal, soloing. This is a must have if you enjoy the Canterbury bands like Soft Machine and Moving Gelatine Plates, along with Frank Zappa's Hot Rats and all its followers (which were usually Continental European). One of Belgium's best albums for certain.

Ownership: LP: 1972 CBS. Single sleeve. Online acquisition (2004).

Former ownership: CD: 1994 Mellow (as The Complete Works). Jewel case with Tanit Live as bonus tracks. 

LP: 2012 Veals & Geeks. Single rough paper sleeve. The cover art is blown up too big, and it's out of focus. The vinyl is one of those bricks with very poor sound, and the mastering is worse than the Mellow CD. No history though apparently their CD version does have it.

My introduction to this album came via the Mellow CD. 

My introduction to the band Lagger Blues Machine was Tanit Live (1970), a posthumous album released in 1988. It's a miserable sounding recording and isn't worth a separate release.  

For those of you who have only heard the reissues: They are all muffled and sound pretty horrid. The original LP (even in the VG condition that I own) is considerably clearer than any of the reissues. Like Soft Machine's Third, it isn't a great sounding album to begin with, but the original vinyl absolutely destroys the Mellow CD, or even worse, the Veals & Geeks LP. 

1995 (first listen); 3/7/10; 1/16/14 (review / new entry)

The Worm Ouroboros ~ Belarus

Of Things That Never Were (2013)

The Worm Ouroboros are a band from Belarus, a country that up until now has yet to make an appearance into my collection. No doubt they came as a reference from Rational Diet, a popular Belarusian chamber rock group, also settled within the AltRock canon.

The Worm Ouroboros are clearly informed by the classic Canterbury scene, and it's most apparent with regards to the fuzzy keyboard tones, copious use of flute, complex meters, kinetic electric guitar, and a melodic disposition.  All of which automatically elevates the album to top tier status in my world. Certainly other classic early 70s progressive influences come to the fore where one can easily spot Steve Hackett, Pink Floyd, Camel, Genesis, Jethro Tull, and even Magma! Some of the acoustic guitar and flute duo's reminded me of Solaris. The Worm Ouroboros should only improve from here, as they start to shed the obvious influences, and their own identity commences to emerge. They're off to an excellent beginning!

Ownership: 2013 Fading (CD). Acquired in 2013.

12/5/13 (review / new entry)

Astrakan ~ England

Comets & Monsters (2012)

While the first album stayed completely in the underground, at least Astrakan's latest album Comets and Monsters is slightly more accessible, being readily available from online retailers. Musically the band stray further towards the jazz end of the Canterbury spectrum. Adding female vocalist and keyboardist Celia Lu has defined their new direction. She sings in a higher pitched fashion - perhaps even pseudo operatic at times - similar to Dagmar Krause. But with a Chinese accent. It's a bit bizarre to say the least. I personally wish they'd exploit their rock abilities, but it seems Astrakan are more intent to stay within the jazz idiom. Henry Cow circa In Praise of Learning is a major influence on Comets and Monsters, but without the annoying tuneless improvisations, thus endearing the band more to my tastes.

Former ownership: 2012 Jaguar Steps (CD). Acquired in 2013. Downsized in 2022.

1/29/13 (review); 6/8/22

Astrakan (2008)

Astrakan starts a-fire with 'In & Out', which possesses a distinct Canterbury sound but completely run amok. The shredding wah-wah guitar left me breathless. Too bad there isn't much more of that psychedelic sound present throughout. Have no fear though, the melodic jazz rock that the Canterbury sound is noted for remains intact. The jazz influence becomes more prominent in the middle of the disc. Sax and organ all get plenty of time to shine. I particularly enjoy their extended use of the latter. It's important to note that Astrakan focus more on composition and atmosphere rather than noisy soloing, thus endearing itself to me. Highlights include tracks 1, 2, 5, and 7.

Astrakan says: "Friends and followers of the band have likened their sound variously to Soft Machine, Zappa, Gong , Dave Douglas as well as to the newer jazz outfits such as Fraud, Led Bib and Get the Blessing." 

Ownership: 2008 private (CD). Acquired in 2011.

4/10/11 (review); 11/4/23

4/10/11 (new entry)

Moving Gelatine Plates. 1971 France

I suppose it was inevitable that I would eventually blog about my all-time favorite group from the 1970s. I know that's a strange thing to say for a band that only managed two albums in a two year period. However, Moving Gelatine Plates has the perfect recipe for my aural appetite. They feature the rare combination of being both memorably melodic and academically complex. They are affable, fun, and approachable. They were all about music and not about leftist politics (hard to find bands like that in the early 1970s French political landscape). The sounds they chose were thick, fat and wedgy - fuzz bass, loud acid guitar, trumpet, sax and flute. And perhaps best of all: They rocked like a motherf*cker. The opening track 'London Cab' is absolutely perfect, and a great example of MGP's overall sound. The only weakness found on the album is the overlong drum solo on 'Last Song', that I'm sure the band would agree on reflection, is completely unnecessary. There is no doubt that they were influenced by the Canterbury bands of Soft Machine and Caravan. But Moving Gelatine Plates takes the concepts of melody, composition, and rock energy to its logical extreme. They are Canterbury extract, in the same way that Presents From Nancy era Supersister were - but MGP was even more fleshed out considering the expanded instrumental lineup. All the good stuff stayed in, while the waste was filtered out. And to think they actually improved on their next album!

Ownership: LP: 1971 CBS. Single sleeve. Online acquisition from a dealer in Norway (1998). 

CD: 1992 Musea. Purchased not long after release and was my introduction to the album and group. As usual Musea closes the door on all potential competition with a high quality release, complete with detailed liners and photos. As a bonus, they provide half of the Moving album from 1980 (to be completed on the second MGP reissue).

1993; 1998; 1/21/13 (new entry)