Canterbury Binge 2017

[chalkpie]

My favorite binge of the year is here again. Does it really need a new thread? Probably not, but its interesting how each annual "volume" of these binges from year-to-year spark quite interesting and varied discussion regarding this incredible music. I've been doing this for years now, and I now associate this music with the winter months starting around the beginning of the new year. I love to explore, re-explore, learn, share, and just plain gorge myself on this stuff.

My first spin (right now actually): Caravan - The Show of Our Lives - Caravan at the BBC '68-'75. I bought this a few years back and imo this is as essential as it gets. Amazing sound quality and performances. When Sinclair's organ is given a hotter than normal signal, I swear that distorted organ can give me the chills.

One more thought - I hope to be able to enjoy Aymeric's book at some point

[Scrotum Scissor]

The Show of Our Lives is one of those fab "live & unreleased" compilations which come around and somehow succeed in generating new perspective on (parts of) the band's music overall. As with the Peel/BBC Sessions Softs double CD. In other words a rarities collection which somhow becomes essential in understanding the band. I always thought the world of the tune itself ("Show..."), and I actually prefer the version herein over the Cunt one.

Love it.

[progman1975]

Frank,
Think I'm gonna pull out Caravan - Live@Fairfields Hall '74.....Soooooooooooooo Good!

[NogbadTheBad]

And we're off.......

I'm certainly waiting on Aymeric's book (in English). Only live Caravan I have is Fairfield, is BBC 'better', 'more essential', 'different'?

[mx20]

Can't wait for Aymerick's English book, also.

Yesterday I spun Rotters' Club and Joy Of A Toy.

[chalkpie]

And we're off.......

I'm certainly waiting on Aymeric's book (in English). Only live Caravan I have is Fairfield, is BBC 'better', 'more essential', 'different'?

Ian - if you dig the early albums (which are the best imo), then considering the sound, track selection, and historical aspect, I think its essential AND different than Fairfield Halls. I also love Fairfield Halls, and the organ solo on "Backwards" is one of my top Canterbury moments, period. You also get Richard on the BBC, but only Pye on Fairfield. There might be some samples online of the BBC, but knowing you I think you'd love it

EDIT: Ian - try this, you'll like it! - - - -

[Steve F.]

Ian,

yes, the Caravan BBC stuff is relatively essential.

[JJ88]

The live Paris Theatre BBC recordings of this time are amongst the most important material in the BBC's entire archive. So many legendary acts were captured in crucial stages of their career...the first ever broadcast of 'Stairway To Heaven' months before it even came out, Bowie trying out Hunky Dory songs before that album was even recorded. Just amazing stuff.

In the case of this Caravan set, we get vitally important recordings such as their take on 'Feelin' Reelin' Squeelin', which is otherwise not on any Caravan studio album and was only to be found on a Soft Machine single B-side. The same session has that somewhat different arrangement of a song from their debut, 'Love Song Without Flute'.

These are, essentially, the only live recordings of the early Caravan line-ups.

[chalkpie]

In the case of this Caravan set, we get vitally important recordings such as their take on 'Feelin' Reelin' Squeelin', which is otherwise not on any Caravan studio album and was only to be found on a Soft Machine single B-side. The same session has that somewhat different arrangement of a song from their debut, 'Love Song Without Flute'.

Are you, happy?

Yes, another amazing track, and I love when Richard(?) does that creepy-ish thing with this voice! SO killer.

[chalkpie]

The Show of Our Lives is one of those fab "live & unreleased" compilations which come around and somehow succeed in generating new perspective on (parts of) the band's music overall. As with the Peel/BBC Sessions Softs double CD. In other words a rarities collection which somhow becomes essential in understanding the band. I always thought the world of the tune itself ("Show..."), and I actually prefer the version herein over the Cunt one.

Love it.

So true.

[JJ88]

The first Soft Machine one also featured oddities like an early version of 'Moon In June'.

[Reid]

Been listening to the double CD edition Matching Mole s/t set. Great stuff! And Henry Cow's Leg End.

[Scrotum Scissor]

The first Soft Machine one also featured oddities like an early version of 'Moon In June'.

You mean the 13 mins. Peel Session rendition from '69? I think it's splendid, and although the very same themes are present as in the Third version, they're creatively deplaced and juxtaposed anew. And the whole band is performing this rendition

Lionel Richie does NOT appear, however.

[calyx]

You mean the 13 mins. Peel Session rendition from '69? I think it's splendid, and although the very same themes are present as in the Third version, they're creatively deplaced and juxtaposed anew. And the whole band is performing this rendition.

I agree this makes this performance especially appealing, quite apart from Wyatt's inventive replacement lyrics.
I'm not sure I agree with your comments on the structure however. Basically the BBC version loses the front ("on a dilemma"), beginning with the next section ("now I'm here I may as well..." on the "Third" version, instrumental on the BBC version), but apart from this the structure is, unless my memory is playing me tricks, identical, apart from - again - some sections losing or gaining vocals. And of course both the "Third" version (recorded a full year after the BBC version, so "anew" isn't the appropriate word) and the 1968/69 demo (now available on Wyatt's "68", previously on Soft Machine's "Backwards") have an extended ambient coda after the organ solo.

[JJ88]

Of course everyone here already knows this...but several of the melodies within 'Moon In June' date back to those Giorgio Gomelsky demos.

[chalkpie]

Been listening to the double CD edition Matching Mole s/t set. Great stuff! And Henry Cow's Leg End.

Nice! Not sure about the MM double edition, nice extra goodies?

How is Leg End treating you? I love that record more than words can convey.

[Scrotum Scissor]

several of the melodies within 'Moon In June' date back to those Giorgio Gomelsky demos.

Hah! I used to cover "That's How Much I Need You Now" in one of my own bands some 25 years back - and as an opening tune to boot! I remember that French compilation (with T-Bone Burnett on the B-side) where it initially appeared, as a dear friend of mine owned it and I just couldn't believe how utterly brillant that song was as opener; a Bacharachy vocals/piano jazz-pop ballad, loveable yet also nervy and intense. It captures the listener's attention instantly and remains one of the early true showcases of Wyatt's (sometimes) genius as not only percussionist/singer but as songwriter too. I still love it.

[Scrotum Scissor]

Leg End treating you? I love that record more than words can convey.

It's a masterpiece. And whether or not Hodgkinson remains "(mildly) embarrassed" over (some of) it doesn't really matter in the grander scheme of things; no other British/European/global rock unit (except Zap/Moms) had attempted anything even remotely as bold as "Amygdala". And the whole album runs swiftly from the first tone until those lingering timbres after "Nine Funerals". Some of the ensemble dynamics on this record even drift beyond the Muthas; less soloing, more intricate texture - and very much performed without tamper as in tapespeeding etc. To me as an already dedicated "prog" fanatic (with additional penchant for Zappa/Beefheart/Softs, all of which helped tremendously), discovering this album back in 1993 came as a pure revelation; highbrow melodicism on a some strange level of alien familiarity.

[polmico]

Following my own tradition of buying whatever album Frank opens this thread with (assuming I don't have it). Polite Force last year. Caravan BBC sessions this year.

And, yeah, Leg End is something else. I encountered it first when I was 16 or so. I'd heard a lot of Yes and ELP, a bunch of Crimson and Soft Machine's Third. That thing settling into my brain was fun.

[Reid]

How is Leg End treating you? I love that record more than words can convey.

I didn't like it that much last year, but now I'm really enjoying it. And I just got Beginnings, and 1974-5 volumes from Wayside. Haven't listened to them yet.

[aith01]

Showing my ignorance here, but I never realized Henry Cow were part of the Canterbury scene. I always thought they were some extremely dissonant avant-garde group, although I've no idea where I got that idea from now seeing as I've never heard a note of their music.

[Scrotum Scissor]

I never realized Henry Cow were part of the Canterbury scene. I always thought they were some extremely dissonant avant-garde group

They were both of these things and two dozen other things. Not from Canterbury at all (but neither were a bunch of these others usually mentioned), but they mingled and at times collaborated with many of those folks (Dave Stewart from Egg, Steve Hillage, Hopper, Gong, Matching Mole/Wyatt, Softs, David Bedford etc.). Soundwise, there were the odd common traits with Softs, Hatfield, Egg, Gilgamesh, National Health and more, but HCow took a far more "formally theoretic" approach to all aspects of musical work, as I see it - including that of free improvisation and charted composition. "Extremely dissonant avant-garde"? Yes, they could be that - once in a while. But I wouldn't pinpoint that as a specifically characteristic asset of the band.

Listen to this thing (all of it!), and keep in mind that these are in essence rock musicians playing through-composed (no improv here), jazz-informed chamber music:

[aith01]

They were both of these things and two dozen other things. Not from Canterbury at all (but neither were a bunch of these others usually mentioned), but they mingled and at times collaborated with many of those folks (Dave Stewart from Egg, Steve Hillage, Hopper, Gong, Matching Mole/Wyatt, Softs, David Bedford etc.). Soundwise, there were the odd common traits with Softs, Hatfield, Egg, Gilgamesh, National Health and more, but HCow took a far more "formally theoretic" approach to all aspects of musical work, as I see it - including that of free improvisation and charted composition. "Extremely dissonant avant-garde"? Yes, they could be that - once in a while. But I wouldn't pinpoint that as a specifically characteristic asset of the band.

Listen to this thing (all of it!), and keep in mind that these are in essence rock musicians playing through-composed (no improv here), jazz-informed chamber music:

Hey, I really liked that!

Thank you for the insights. It seems I seriously misjudged Henry Cow in the past, but no longer. They are going on my "Canterbury and Etc." listening list now. Should I start with Leg End?

[nosebone]

Start with the toes

[Steve F.]

Note to Scro:

Gary Farr and the T-Bones; I owned those two lps as well...