[.ca] Rotters Club

Very good album:
I got this Hatfield and the North album before I got the s/t album (as most would likely suggest) and I was instantly a fan. Although I have a real interest in prog/art-rock, I can't really tolerate music that lacks a real structure (no doubt the reason I can't get in to a lot of jazz). Sure, I'm all for jamming and solos and what not, but improvising and guitar/sax/keyboard solos that just sound like someone practicing scales over and over again really turn me off and make me lose interest. The Rotters' Club, although certainly not a "song-based" album (with a few exceptions),is structured enough to keep my interest despite the suite-like feel of a lot of the material. The only thing keeping me from awarding this album with 5 stars is that I prefer the first, s/t album to this one.

The standard reference for the intelligent light Canterbury:
Well it's inferior than the best of Zappa's stuff and that one of Isildur's Bane today as well, but it's the most influential of all the light/experimental Canterburian works...it maintains a great sense of measure, without the excess of certain experimental fusion French prog (in the vein of Art Zoyd or the experimental Magma or Dun for example); besides it has got an high reputation in the jazz canterburian circle of Canterbury (e.g. Matching Mole, Egg and National Health)and it is like "In the court of the Crimson king" by King Crimson as a prog fan's reference for the settlement of the first prog standard. "Mumps" and "Didn't matter anyway" are classic gems by Dave Stewart, with a great keyboard work as well. Highly Recommended to the fan of the intelligent Canterbury (much better than the whole Caravan's stuff!!)

Synchronicities w/ Brasil !! ??:
I am truely amazed with this recording. I have listened to much music in my time, but curiously never listened to "Hatfield etc.". Although my tastes run towards Post-Bop jazz & Musica Brasileira ( instrumental & MPB), I was an avid enthusiast of Jazz rock?funk in the early 70's. for a lark, I purchased this cd as I had heard many of the musicians in "H & T N" in other aggregations. After a "typically Engish" sounding opening track, i was "floored" by the fact that many tunes(the non-jazz-rock guitar driven ones specifically) sounded unbelievably close in harmonic structure & melodic modulation to the musics of the Brasilian born GENIUS OF MODERN MUSICS, Hermeto Pascoal!! Even more fascinating was the use of the female "choir" and Richard Sinclair's "gargarejo"(gargling) singing effect on 2 of the compositions. Que maravilha (!), what a curious syncronicity ! What makes it interesting is that when this cd was originally recorded as an lp, Hermeto had only 2 releases as a leader avaliable to US & UK listeners, so I dont think Hatfield was influenced by him at all. ("Slave's Mass", which I have reviewed is avaliable here on Amazon). this is really a "trippy" coincidence. as for my views specifically on this lp, I like Phil Miller's guitar solos more when they are understated & jazzy, and Dave Stewart's keyboard excursions are quite fun!! Buy this, and I hope i have lead you all also to "o Bruxo", the sorcerer, Hermeto Pascoal also! See what you think!

ONE OF THE SHINING MOMENTS OF THE 70s:
THE ROTTERS' CLUB - the second of only two albums made by this stellar ensemble - is a great example of the progressive elements of British music of the 1970s (and the Canterbury scene in particular) at its best. Dave Stewart (ex-Egg and not-yet-National Health - NOT the same Dave Stewart from the Eurythmics) offers quite possibly the finest keyboard work of his career here, but without stealing any of the light from his fellows. Richard Sinclair (ex-Caravan) adds his distinctive bass work and his unmistakable vocals. Phil Miller's guitar playing is simply beautiful - restrained and understated, never posing. Pip Pyle is possibly one of the most underrated drummers from the era. His earlier band, Gong, was written off by many critics as a 'pot-head' band, given the antics and lyrics of headman (probably a perfect choice of words, actually) Daevid Allen - but his drumming and percussive work is always intelligent and tasteful. The four of them are a great combination, their respect for each other allowing them to blend their talents and creativity in a way that is very rare. There are guests here as well - but their contributions never overshadow the direction or personality of the band itself. Jimmy Hastings (who played on some Caravan releases) adds flute and saxes. Mont Campbell (like Stewart, ex-Egg) supplies French horn. Lindsay Cooper and Tim Hodgkinson (both from Henry Cow) contribute oboe/bassoon and clarinet, respectively. Also along for the ride are 'the very wonderful Northettes' - Barbara Gaskin (with whom Stewart recorded some very nice, more 'pop' albums later in his career), Amanda Parsons and Ann Rosenthal. There's a lot of serious music here - with elements of rock, jazz and classical - and plenty of opportunity for improvisation. The first-time listener shouldn't allow that to lead them to believe that there's no humor, however - it's here in abundance, both lyrically and in several musical passages as well. These guys are thinking musicians, but they're not cold and staid - they like to have fun with their art. The album reveals more with every listening - even nearly 30 years on. It's stood the test of time very well - as has their first effort, HATFIELD AND THE NORTH. There are 5 bonus tracks included in this cd re-issue (thankfully with the original cover art intact, and with a nice added pic of the band inside. The live track, 'Halfway between heaven and earth', originally appeared on OVER THE RAINBOW, and lp issued to commemorate the venerable London concert venue.

A Zenith of English Fusion:
Chris Hughes, the reknowned English producer, introduced me to this album (and its predecessor, Hatfield and the North) in 1976. This is truly an amazing work- complex, dense, yet extremely melodic. Besides the virtuoso grooves, there are some beautiful, dreamy songs, e.g. "It Didn't Matter Anyway". Not to mention the brilliant sense of humor on display both musically and lyrically. A "must have" CD for anyone even remotely interested in this infinitely rewarding genre.

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