01	The Stubbs Effect						00:22
	02	Big Jobs (Poo Poo Extract)						00:36
	03	Going Up To People And Tinkling						02:25
	04	Calyx						02:45
	05	Son Of 'There'S No Place Like Homerton'						10:10
	06	Aigrette						01:37
	07	Rifferama						02:56
	08	Fol De Rol						03:07
	09	Shaving Is Boring						08:45
	10	Licks For The Ladies						02:37
	11	Bossa Nochance						00:40
	12	Big Jobs No. 2 (By Poo And The Wee Wees)						02:14
	13	Lobster In Cleavage Probe						03:57
	14	Gigantic Land Crabs In Earth Takeover Bid						03:21
	15	The Other Stubbs Effect						00:38
	16	Let'S Eat (Real Soon)						03:16
	17	Fitter Stoke Has A Bath						04:35

Richard Sinclair - bass, singing
Phil Miller - guitars
Pip Pyle - drums
Dave Stewart - organ, pianos and tone generators

with assistance from
THE NORTHETTES (Amanda Parsons, Barbara Gaskin, Ann Rosenthal) singing
Geoff Leigh (c/o Henry Cow) saxes and flute
Jeremy Bains - pixiephone
Robert Wyatt - singing on "Calyx"

Recorded at the Manor Studios in 1973


Hatfield and the North [UK]

Hatfield and the North (73), The Rotter's Club (75), Afters (79) Live in 1990 (91)

Dave Stewart's main band. The Rotter's Club, their second album, is easily one of the best albums of the mid 70s. It features the 20 minute epic "Mumps."

Agreed. But both The Rotters Club and their self titled first are worth it as is the posthumous compilation Afters. Great and undeniably complex music with a dose of humour thanks to Pip Pyles down to earth lyrics. Actually, pages could be written on these guys.

On first listen this did not strike me as being worth quite the commotion. However give it a chance and it will grow on you. Very complex, somewhat spacey at times and with a sense of humor that does not verge on total silliness.

I just got The Rotter's Club because I had heard so many good things about it but am finding it terribly hard to get into. Mumps is a nice piece, (annoying lyrics though) and the album in general is very jazzy and complex but their overall sound strikes me as kind of cheesy. As with many excellent prog groups though, they probably just need to grow on me more so don't take my opinion too seriously.

Quintessential Canterbury music, composed of ex-members of Caravan, Matching Mole, Gong and Egg. The debut has some real fine playing and provocative music, fans of the aforementioned will love this. "Son of 'There's No Place Like Homerton'" is a classic of the genre, and adds a Zappa-esque element to the music, and not just in the title. Also of note is the appearance of the Northettes, the band's female vocal backing trio, on this. Most of the songs are strung together in a sort of medley form. The album reaches a climactic point with "Lobster In Cleavage Probe," spotlighting Dave Stewart's symphonic organ playing. "Shaving Is Boring" is a hypnotic example of Caravan-esque riffing. The centerpiece of The Rotter's Club is the 20-minute, four-part "Mumps," another essential classic of Canterbury prog. Also important for the Sinclair favourite "Didn't Matter Anyway" and Pip Pyle's two excellent compositions: "The Yes No Interlude" and "Fitter Stoke Has A Bath." Afters is a posthumous compilation of non-LP music, now rare because most of this music has been reissued as bonus tracks on the CDs of the other two albums. I haven't heard this one in any form, as I only have the LPs. -- Mike Ohman

Wonderful jazzy progressive with a sense of humor. That one sentence gives you the essence of Hatfield and the North. However it doesn't give you the true scope of this band featuring Dave Stewart on keyboards. For the most part the Hatfields present a very evocative dreamy sound. They are considered to be Canterbury as such have a number of the stylings similar to those bands such as Caravan. (with whom they share members) They have three albums that I am aware of Hatfield and the North, The Rotters Club, and Afters. The Rotters Club is their classic and is IMHO one of the top progressive albums ever done. Among other things it contains an absolutely brillant 20 minute track called "Mumps." And luckily for all of us, their first two releases are available on the Caroline Blue Plate Special line.

Classic progressive rock with Dave Stewart. Unlike National Health or Egg, Hatfield has a jazzier feel and the music allowed for more improvisation that did the heavily scored work of the other two bands. The music is fun, thanks to Sinclair's tongue-in-cheek lyrics yet is still quite complex which satisfy the most demanding prog fan. I recommend The Rotter's Club with the 20 minute classic, "Mumps."

Excellent example of the English "Canterbury" scene. Members included Richard Sinclair, Dave Stewart, Pip Pyle, and Phil Miller. Two albums, one self-titled, then The Rotter's Club. An album called Afters was also released, made up of singles, live stuff and b-sides. I think that all of the new stuff on Afters was included as bonus tracks on the CD re-issues of the first 2 albums. Very jazzy, very "English" music with funny lyrics. TRC is one of my favorite albums in this genre.

[Dave Stewart is replaced by Sophia Domanich on the 1990 live album.]



Hatfield & the North


Discography

Hatfield & the North (1974)
The Rotters Club (1975)
Live (1990)

Compilations/Other Recordings
Afters (1980)

County Of Origin: England
Established: 1972
Styles: Canterbury

Biography

Ahh... Hatfield & The North... sometimes nothing suffices like this group's definitive concoction of jazzy, off-beat progressive rock. Those shimmering guitar solos, fluid rhythms, sparkling synths and choppy organ motifs bubbling around in the groups distinctly quirky, and distinctly English, brand of exquisite, melodic prog-fusion. If any band could possibly define the "Canterbury" sub genre, Hatfield & The North might be that band. The group consisted of a veritable all-star team of Canterbury musicians. Stalwart Dave Stewart on keyboards (Arzachel, Egg, Khan), Pip Pyle, fresh from a brief stint in Gong on drums, Caravan's beloved Richard Sinclair on vocals, and of course the incomparable Phil Miller, from Matching Mole, on guitar. Unfortunately, the group's brief flash of brilliance lasted for only two albums, both of which are classics of the scene. Thankfully, most of the group (Pyle, Stewart, Miller) would go on to play in the more expanded ensemble format in National Health, another seminal group whose first two albums would at least rival the classic Hatfield output. In any case, both Hatfield albums are, at the very least, must-haves for those exploring the Canterbury scene, though also perhaps two of the finest English progressive rock albums ever. - Greg Northrup [2001]
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Hatfield and the North (1973)

This album is quickly becoming a favorite of mine, though I perhaps might just prefer their next masterpiece, Rotter's Club. Still, I find myself playing this one all the time, a truly imaginative, unconventional and sweetly relaxing slab of shimmering prog-fusion. Every musician on the album turns in an amazing performance, especially the core quartet of Sinclair, Stewart, Pyle and Miller. Perhaps a little more downbeat, breezy, and relaxed than Rotter's Club but still very much in a similar style. The self-titled is perhaps a little more ornate, more guest musicians provide for a consistently wider instrumental palette, as opposed to a relatively stripped down and more energetic approach on the next release. The album flows together as sort of an extended suite, with exquisite, melodic solos, crisp rhythms and interlocking parts. Wonderful vocal textures drench the album, from Richard Sinclair's distinctively off kilter poetry, to wordless chanting, soothing female backing vocals courtesy of the "Northettes". "Calyx" features Robert Wyatt's enchanting wordless vocals, before segueing into the keyboard romp of lengthy "Son of 'There's No Place like Homerton", which in turn segues back into nonsensical chants in "Aigrette". Sinclair's bass playing on "Rifferama" is so perfect, employing punchy lines the weave flawlessly in and out of the various solos, extraordinarily complex yet seemingly effortless. The whole album is linked together in this fashion, making it difficult, not to mention pointless, to distinguish between the different tracks. The album is a long piece of truly wonderful, melodic, jazzy progressive that is unimaginably rich in texture, emotion and just plain fun. You won't even come close to grasping it in a few listens, as themes and motifs crop up unexpectedly throughout. This is an album you really need to explore gradually, every listen has become more and more enjoyable as I've been able to latch on to and anticipate various themes. I've had this album in my changer for weeks and look forward to fully unraveling its brilliance. If you're into the Canterbury sub-genre, you probably already have this album. If you aren't yet, you should be, and you should probably pick this one up right after The Rotter's Club. - Greg Northrup [May 2001]


1. The Stubbs Effect
2. Big Jobs (Poo Poo Extract)
3. Going up to People and Tinkling
4. Calyx
5. Son of "There's No Place Like Homerton"
6. Aigrette
7. Rifferama
8. Fol de Rol
9. Shaving Is Boring
10. Licks for the Ladies
11. Bossa Nochance
12. Big Jobs No. 2 (By Poo and the Wee Wees)
13. Lobster in Cleavage Probe
14. Gigantic Land Crabs in Earth Takeover Bid
15. The Other Stubbs Effect
16. Let's Eat (Real Soon)
17. Fitter Stoke Has a Bath

Pip Pyle - Drums
Richard Sinclair - Bass, Vocals
Dave Stewart - Organ, Piano, Keyboards, Tone Generator
Phil Miller - Guitar
Jeremy Baines - Wind, Pixiephone
Geoff Leigh - Flute, Saxophone, Wind
Robert Wyatt - Drums, Vocals
Amanda Parsons - Vocals
Ann Rosenthal - Vocals
Barbara Gaskin - Vocals

Caroline Records - CAROL 1833-2
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The Rotters Club (1975)

The Rotters Club is definitely one of the definitive "Canterbury" albums, a sub-genre of progressive rock that was decidedly jazzier, more instrumentally based and featured a more humorous, less-pretentious take on everything. The serious musical chops and tongue-in-cheek attitude fenced off many of these groups from the kind of criticism that more theatrical contemporaries like Yes and Genesis were being pummelled with. Hatfield & the North were on the forefront of this movement, carrying some already distinguished musicians from the likes of Caravan, Matching Mole and Egg. Rotters Club was their second album and is a monster of jazz infected progressive rock, made up of great extended jams and phenomenal musicianship from all parties.

"Share It" opens up with Richard Sinclair's whimsical vocals, already familiar to all Caravan fans, and is a very nice track. However, it is the last time we see vocals for awhile, as Hatfield and the North places much less emphasis on lyrics and such than Sinclair's former band. Instead, songs like "The Yes No Interlude" and "Underdub" are just replete with exciting playing, great organ from Dave Stewart as well as exquisite guitar work from Phil Miller. "Mumps" is a huge epic track that features some more vocals here and there but for the most part is another explosive instrumental. Basically this album is probably the next step the average prog fan should take into exploring Canterbury after Caravan's best albums. - Greg Northrup [February 2001]


1. Share It - 3:02
2. Lounging There Trying - 3:10
3. (Big) John Wayne Socks Psychology on the Jaw - :46
4. Chaos at the Greasy Spoon - :30
5. The Yes No Interlude - 7:02
6. Fitter Stoke Has A Bath - 7:38
7. Didn't Matter Anyway - 3:03
8. Underdub - 3:55
9. Mumps - 20:03
a. Your Majesty is like a Cream Donut (Quiet)
b. Lumps
c. Prenut
d. Your Majesty is like a Cream Donut (Loud)
10. (Big) John Wayne Socks Psychology on the Jaw
11. Chaos at the Greasy Spoon
12. Halfway Between Heaven and Earth
13. Oh, Len's Nature!
14. Lying and Gracing

Phil Miller - Guitar
Jimmy Hastings - Flute, Sax (Soprano), Sax (Tenor), Wind
Pip Pyle - Percussion, Drums
Richard Sinclair - Bass, Guitar, Vocals
Dave Stewart - Organ, Keyboards, Piano (Electric), Tone Generator

Caroline Records - CAROL 1834-2



Hatfield And The North - Hatfield And The North

Member: mr_noitall

The subgenre known as "Canterbury" is perhaps the hardest one to get a handle on. With it's combination of rock, pop, psychedelia and jazz, it's tough to describe.

That said, Hatfield and the North is perhaps the ultimate Canterbury band. With members from Matching Mole (Phil Miller and Pip Pyle), Caravan (Richard Sinclair) and Egg (Dave Stewart), and guests from Soft Machine (Robert Wyatt) and Henry Cow (Geoff Leigh), it's hard not to call this a Canterbury supergroup.

This album is a conglomeration of 15 tracks, each song a seperate entity unto itself, but all blended seamlessly into a wonderfully unique whole. It's sometimes hard to tell when one track ends and the next begins. The end result is a joy ride through intricate themes and melodies, abrupt time and tempo changes, beautiful vocals, lush soundscapes, jazz stylings, and even some psychedelia. Each member contributes to the writing credits.

To say that these guys have chops is an understatement, but no player overshadows any other. They trade the spotlight like the best jazz band, and each member's playing compliments the others.

Hatfield and the North plays some incredibly complex music, but they refuse to take themselves too seriously. Their sense of fun and playfulness is quite evident. A quick review of the song titles will verify this!

It's hard to pinpoint a particular track for inspection and/or dissection. I prefer to take this album as a whole. There's so much going on! Pip Pyle (prog's most underrated drummer) is going non-stop. Richard Sinclair touches every fret on his bass guitar at least once. Phil Miller's guitar assumes many forms, and Dave Stewart is superb on whatever keyboard he's playing. Yes, there's even mellotron. The gorgeous backing vocals from the "Northettes" (Barbara Gaskin, Amanda Parsons and Ann Rosenthal) are worth the price of admission alone.

This is some of the best music ever made, and I don't say that lightly. Words alone cannot describe the magic. If you're looking for bombastic pipe organ or mind-altering lyrics, this isn't for you. However, if you want to hear progressive music as it was truly meant to be, then Hatfield and the North will change you for life.





O WHAT A LONELY LIFETIME
Words and Music by Richard Sinclair

I'm in love with you
If only you knew
Wan' it
Want you want
Want you to love me
But sometimes
When I'm on my own
Gigging far from home
It gets so lonely

I realize that I need something else
Other than this
It's you I miss
Oh what a lonely lifetime!