Rotters Club (Reis) [Import, Original recording remastered]

Hatfield & The North | Format: Audio CD

Product Details

• Audio CD (August 25, 2009)
• Number of Discs: 1
• Format: Import, Original recording remastered
• Label: Esoteric
• ASIN: B002CVQ7PC
• Also Available in: Audio CD  |  Vinyl  |  MP3 Download
• Average Customer Review: 4.7 out of 5 stars  See all reviews (29 customer reviews)
• Amazon Best Sellers Rank: #45,707 in Music (See Top 100 in Music)

Track Listings

1. Share It

2. Lounging There Trying

3. (Big) John Wayne Socks Psychology on the Jaw

4. The Yes/No Interlude

5. Fitter Stoke Has a Bath

6. Didn't Matter Anyway

7. Underdub

8. Mumps: (A) Your Majesty Is Like a Cream Donut (Quiet) (B) Lumps (C) Pre

9. Halfway Between Heaven and Earth [Full Version][*]

10. Oh, Len's Nature! [*]

11. Lything and Gracing [*]

Editorial Reviews

Digitally remastered and expanded edition of this 1975 release from the British Prog/Art rockers including bonus tracks. Recorded for Virgin Records, Rotters' Club was the sophomore album by the band comprising former Caravan member Richard Sinclair, keyboard player Dave Stewart, guitarist Phil Miller and drummer Pip Pyle. Regarded as one of the finest albums in the Canterbury genre, the album also featured guest appearances by Jimmy Hastings and Mont Campbell. This reissue adds bonus material, together with a booklet featuring restored artwork and notes by Sid Smith. Esoteric.

Customer Reviews

Most Helpful Customer Reviews

16 of 17 people found the following review helpful:

5.0 out of 5 stars Fully developed Canterbury sound, August 20, 2006

By 

Jeffrey J.Park (Massachusetts, USA) - See all my reviews
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This review is from: Rotters Club (Audio CD)

This excellent 1975 album shows Hatfield & the North adopting a full blown Canterbury rock sound - a nice mixture of quirky prog and jazz rock. Although folks refer to a Canterbury style before 1975 (I include myself here too), the bands lumped under the Canterbury style pre-1975 were incredibly disparate and utilized a broad spectrum of musical styles. The Henry Cow (experimental) - Caravan (pop prog) continuum comes to mind in fact. It was not until the mid-1970s however, that a distinct Canterbury sound emerged (quirky, proggy, jazz rock) and this album is a superb example.

The core lineup includes a virtual who's who of Canterbury rock: Phil Miller (guitars); drummer Pip Pyle; Richard Sinclair (vocals, bass guitar); and Dave Stewart (Hammond organ, electric piano, tone generator. The additional musicians are also among the Canterbury luminaries and include Jimmy Hastings (flute, soparano and tenor saxophone); Mont Campbell (French horn); Lindsay Cooper (oboe and bassoon); Tim Hodgkinson (clarinet), and finally the Northettes (Barbara Gaskin, Amanda Parsons, and Ann Rosenthal). All of the musicians are absolutely top shelf and the individual performances are breathtaking. The ensemble work is also very intricate and there are some fairly dexterous meter shifts. I feel that Richard Sinclair's vocals (and bass playing) are both excellent and it is always a treat to hear him perform whether with Caravan, Hatfield & the North, or Camel.

The nine tracks on the album are arranged into two largish suites, including tracks 1-8 and the massive 20'13 Mumps suite. As I mentioned, although progressive rock is the dominant style, there is a good bit of jazz rock. In fact, there may be slightly more jazz rock than was found on the 1974 debut. There is also the whimsical Canterburian sense of humor - I think this is also a distinctive feature of the Canterbury "thing". Greater emphasis is placed on instrumental sections and lengthy "jams" are scattered across the album, where Dave and Phil really get a chance to shine. The Northettes also add a very nice, dreamy touch to each piece, and the woodwind playing, (especially Jimmy's flute work), heighten this effect. There are also brief experimental sections too - the last few minutes of Fitter Stoke has a Bath is a good example of this. Overall, although I don't feel that Rotter's Club is much different than the debut, some folks might notice a bit of more of a jazz rock approach.

The bonus tracks include alternate takes of Big John Wayne Socks Psychology on the Jaw and Chaos at the Greasy Spoon, in addition to the extremely jazzy track Halfway between Heaven and Earth, the thunderous (it is unbelievably heavy) Oh, Len's Nature!, and the once again very jazz-rocky Lying and Gracing (it sounds live but there is no indication of where it was recorded). These last three tracks are superb.

All in all, this is an excellent Hatfield & the North album and is highly recommended along with the 1973 debut.

11 of 11 people found the following review helpful:

5.0 out of 5 stars Dave Stewart's Best Album--And That's Saying A Lot!, October 9, 2000

By 

Michael Topper (Pacific Palisades, California United States) - See all my reviews

This review is from: Rotters Club (Audio CD)

In the brief and varied history of the Canterbury prog scene, there appeared a slew of brilliant albums which defined the genre: The Soft Machine's "Third", Caravan's "In The Land Of Grey And Pink", Robert Wyatt's "Rock Bottom"--and the various works of Dave Stewart's bands Egg, Hatfield And The North and National Health (don't forget to also check out the 1969 psych release called "Arzachel"). Of these, the finest is probably "The Rotter's Club", the sophomore effort from Hatfield And The North which blended together the best elements of The Soft Machine, Caravan, and Egg sound into one glorious package. Although the side-long epic "Mumps" is frequently cited by many prog fans as one of the greatest examples of the genre, the first side is equally stunning. The album begins with a classic pop song in the Canterbury style, "Share It", replete with understated English vocal and fusion-y synth solo, and then moves into heavier territory with long, richly textured instrumental pieces. The keyboard and sax/flute work is definitive throughout; "Didn't Matter Anyway" features a particularly pleasing combination of flute and synth solos which closed side one on a fragile, bittersweet note. "Mumps" is bound together by Stewart's heroic keyboard work and--like most 20-minute prog suites--moves through several atmospheres, including tasteful guitar and organ solos as well as a delightfully trippy female vocal section, with various "aaahs" floating away into the void before the triumphant return of the main theme. It is hard to describe the brilliance of the playing here in words, only that it is a perfect example of the understated Canterbury style, which moved into experimental jazz territory without losing its sense of proportion or melodicism. Many of Stewart's organ textures here remind me of those on the Caravan classic "Nine Feet Underground", but even more virtuostic. "The Rotter's Club" also differs from Stewart's later work in National Health, as the Hats were more willing to experiment with overdubs and studio effects (there is one hilarious moment when it sounds as if the singer is underwater in the bathtub); National Health would replace that with a more "live" feel and even more complex compositions, but the psych-influenced playfulness with sound would be largely absent. As a bonus, the CD includes some scorching live cuts with Stewart ripping out some amazing solos which give Keith Emerson a run for his money.

12 of 13 people found the following review helpful:

5.0 out of 5 stars ONE OF THE SHINING MOMENTS OF THE 70s, October 18, 2002

By 

Larry L. Looney (Austin, Texas USA) - See all my reviews
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This review is from: Rotters Club (Audio CD)

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.