Canterbury Scene

The Canterbury Scene is a musical genre that originated in the Canterbury region of England in the late 1960s and early 1970s. It is a unique musical blend of psychedelic, jazz, folk, and experimental rock. The term "Canterbury Scene" was first used by the British musicologist and journalist Hastings in his review of "Egg's" debut album in 1970. He referred to the "Canterbury movement," which included bands such as "Soft Machine," "Gong," "Caravan," "Hatfield and the North," "National Health," and "Egg." The Canterbury Scene emerged in the context of the British psychedelic and underground music scene of the late 1960s. Canterbury was a hub of musical experimentation and subculture, with numerous clubs and venues hosting performances by local and visiting bands. The Canterbury Scene's sound was characterized by complex, intricate arrangements, virtuoso instrumental performances, and whimsical lyrics infused with a sense of humor, irony, and surrealism. The founding fathers of the Canterbury Scene were the members of "Soft Machine," a band that formed in 1966 in Canterbury College of Art. The original lineup consisted of Robert Wyatt (drums, vocals), Kevin Ayers (bass, vocals), Daevid Allen (guitar, vocals), and Mike Ratledge (keyboards). Their self-titled debut album in 1968 set the tone for what would become the signature sound of the Canterbury Scene - free-form, improvisational, and genre-bending. "Soft Machine" influenced a generation of young musicians who embraced their experimentalism and avant-garde spirit. One such musician was David Allen, who left "Soft Machine" in 1968 to form his own band, "Gong." "Gong" developed a loyal following among fans of the Canterbury Scene for their eclectic mix of psychedelic rock, jazz, and mystical themes. Their breakthrough album, "Camembert Electrique" (1971), became a cult classic and established them as one of the leading bands of the movement. Another key player in the Canterbury Scene was "Caravan," a band that formed in 1968. Their sound was characterized by complex harmonies, lush arrangements, and virtuoso performances by their members. Their debut album, "Caravan" (1968), showcased their quirky songwriting and well-crafted arrangements. Their follow-up, "In the Land of Grey and Pink" (1971), is regarded as one of the masterpieces of the Canterbury Scene. "Hatfield and the North" was another influential band of the Canterbury Scene. They formed in 1972 and released their debut album, "Hatfield and the North," the same year. Their sound was characterized by intricate time signatures, complex harmonies, and humorous lyrics. They remained active until 1975, leaving behind a legacy of experimentalism and innovation. The Canterbury Scene is often compared to the American Canterbury-related musical genres of "progressive rock" and "jam bands." However, the Canterbury Scene had a more improvisational and free-form approach to music-making, reflecting the anti-authoritarian counterculture of the 1960s and 1970s.

Soft Machine: Initially formed as a psychedelic rock band, Soft Machine became synonymous with the Canterbury Scene through their fusion of jazz, rock, and experimental music. The band's core members, including Robert Wyatt and Kevin Ayers, went on to pursue successful solo careers. Caravan: Another essential band of the Canterbury Scene, Caravan's sound was characterized by right harmonies, complex arrangements, and melodic tunes. Their seminal album, In the Land of Grey and Pink, is regarded as a classic of progressive rock. Gong: Led by the charismatic Daevid Allen, Gong blended jazz, rock, and science fiction themes to create a cosmic sound that was both inventive and playful. Their live shows were a riotous spectacle and became an essential part of the counterculture scene in the '70s. National Health: Comprised of former members of Soft Machine and Caravan, National Health was a highly skilled and technically proficient band that created complex and challenging compositions. Their music was characterized by intricate tempo and time signature changes, and unexpected shifts in melody and harmony. Hatfield and the North: Another supergroup of the Canterbury Scene, Hatfield and the North was formed by members of Caravan and Delivery. Their music was a mix of jazz fusion and avant-garde rock, and their witty lyrics and playful arrangements made them a cult favorite. Egg: Led by the multi-instrumentalist Dave Stewart, Egg was a group that blended classical and jazz influences with a rock sensibility. Their music was marked by complex arrangements, soaring melodies, and technical proficiency. Robert Wyatt: After leaving Soft Machine, Robert Wyatt embarked on a successful solo career, blending jazz, rock, and avant-garde influences into beautifully crafted songs that were both politically and socially engaged. His lyrics and distinctive voice ensure that his legacy remains intact. Kevin Ayers: A founding member of Soft Machine, Kevin Ayers was a quintessential British eccentric whose music was marked by a wry wit and a sharp social critique. He was a master of melody and a true innovator of the Canterbury Scene. Steve Hillage: A former member of Gong, Steve Hillage was a guitarist and songwriter who blended space rock, jazz fusion, and funk influences into a distinctive and mesmerizing sound. His intricate solos and hypnotic rhythms make him an essential artist of the Canterbury Scene. Mike Ratledge: A founding member of Soft Machine, Mike Ratledge was a keyboard player and composer who helped to define the sound of the Canterbury Scene. His use of unusual time signatures and minimalist arrangements have been hugely influential on subsequent generations of musicians.

1. “In the Land of Grey and Pink" - Caravan 2. "The Soft Machine" - The Soft Machine 3. "Third" - Soft Machine 4. "Matching Mole" - Matching Mole 5. "For Girls Who Grow Plump in the Night" - Caravan 6. "Camembert Electrique" - Gong 7. "The Wilde Flowers" - The Wilde Flowers 8. "Waterloo Lily" - Caravan 9. "Weasels Ripped My Flesh" - Frank Zappa and The Mothers of Invention 10. "Hatfield and the North" - Hatfield and the North 11. "Bundles" - Soft Machine 12. "Shooting at the Moon" - Kevin Ayers 13. "Gong est Mort, Vive Gong!" - Gong 14. "Banana Moon" - Daevid Allen 15. "L'arbre qui marche" - Moving Gelatine Plates 16. "Rock Bottom" - Robert Wyatt 17. "The Rotters' Club" - Hatfield and the North 18. "Six" - Soft Machine 19. "You" - Gong 20. "Volume Two" - Soft Machine 21. "Flying Teapot" - Gong 22. "Gazeuse!" - Gong 23. "Shamal" - Gong 24. "Fool's Mate" - Peter Hammill 25. "Dando Shaft" - Dando Shaft

The Canterbury Scene is one of the most interesting and innovative music scenes in the history of popular music. Invented in the late 1960s, and centred around the town of Canterbury, England, the scene has been described as a musical melting pot of psychedelia, jazz, classical music, and folk rock. One of the most notable books on the subject is “Canterbury Tales” by Aymeric Leroy, which provides an in-depth analysis of the movement and its origins. Leroy delves into the origins of Canterbury Scene and its key figures in meticulous detail, such as Robert Wyatt, Soft Machine, and Caravan. A notable quote from the book is: “The Canterbury Scene of 1967-1975 was both an extension of the psychedelic revolution and a reaction to it. The new music that emerged targeted a discerning audience with highbrow tastes - art students, academics, and lapsed hippies - who wanted music that was challenging, experimental, and reached beyond the confines of conventional pop.” Another prominent book is “The Canterbury Scene” by Mike King, which focuses on the history of the movement, with particular emphasis on Soft Machine and Caravan. It explores the unique sound of the scene, which was characterised by complex and elongated instrumental passages, eclectic instrumentation (such as violins, saxophones and mellotrons), and whimsical lyrics. King notes: “The Canterbury Scene was primarily about fusion - the fusion of different styles of music and different cultural influences. This meant that the scene did not have a set musical direction but was an open platform for eclectic experimentation.” A third book on the subject is “Canterbury Tales from the Seventies” by Nigel Schofield, which puts the spotlight on lesser-known bands from the scene, such as Egg, Gong, and Hatfield and the North. The book offers insights into the scene’s specific sounds, lyrical themes, and musical innovation. Schofield suggests: “The Canterbury Scene represented a rejection of the mainstream pop culture of the Beatles era, and a hunger for something more adventurous, imaginative, and sophisticated.” In addition to books, there are also notable quotes from musicians who emerged from the Canterbury Scene. Robert Wyatt, the founding member of Soft Machine, reflected on the scene’s jazz influence: “There was always that background of British jazz, and because we started off playing as a support band to a lot of jazz bands, that basically infected us with a love of jazz. But our idea was always to meld it with something else.” Hugh Hopper, bassist for Soft Machine, commented on the use of unconventional instruments: “We weren’t trying to be flashy, or impress anyone with technique or speed, but we wanted to use the Oboe, bassoon, and other unconventional instruments to add richness to the sound.”

On a social level, the Canterbury Scene emerged out of a countercultural movement that rejected the austere conservatism of post-World War II Britain. Young people were disillusioned with traditional societal values and sought alternative forms of artistic expression. For some, this meant experimenting with psychedelic drugs and the associated counterculture, which emphasized individualism, spiritual exploration, and self-discovery. The music of the Canterbury Scene reflected these values, with its unconventional and experimental style often seen as a rejection of the mainstream. Technologically, the Canterbury Scene was influenced by the rise of home-recording equipment, which allowed musicians greater control over the production of their music. Some of the most significant albums of the genre were recorded in home studios, with bands able to experiment with different sounds and effects. The development of more sophisticated recording techniques also allowed for greater experimentation, including the blending of different genres and styles. The evolution of sound technology enabled artists to push the boundaries of traditional rock music, introducing a level of complexity and depth that had not been heard before. The cultural context of the Canterbury Scene was shaped by the influence of other musical movements, including jazz and progressive rock. The use of jazz influences in rock music had become increasingly popular in the late 1960s, with bands such as Soft Machine and Caravan blending elements of jazz with rock. The incorporation of jazz allowed musicians to build on traditional rock structures, incorporating more complex harmonies and rhythms. This created a unique sound that was both experimental and accessible, drawing in audiences from across the musical spectrum. Notable record labels also played an important role in the formation of the Canterbury Scene. The influential British label, Virgin Records, founded by Richard Branson in 1972, became a hub for experimental rock music, with many of the key Canterbury Scene bands signing with the label. Other labels, including Decca, Harvest, and CBS, also played a role in promoting the genre. The emergence of independent record labels and the rise of music journalism as an influential cultural force helped to create a supportive environment for the growth of the Canterbury Scene. Journalists and music critics were also instrumental in shaping the cultural context of the Canterbury Scene. Writers such as Charles Shaar Murray, Nick Kent, and Jonh Ingham provided a platform for the genre, writing about bands and artists in magazines such as Melody Maker and Sounds. Their enthusiasm for the genre helped to establish it as a distinctive and significant movement within the wider musical landscape.