Customer Reviews

Rotters Club (Reis)

5 star:		(22)
4 star:		(5)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

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.

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.

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.

Combining jazz, rock, special effects, and silliness, Rotters Club represents the best of what the "Canterbury Scene" offered in the early seventies. These musicians later interacted with members of Gong, Caravan, and Camel, and produced much solo material, but this album and its self-titled predecessor are amazing collaborations that represent the best of what was happening in the European progressive rock/jazz scene at the time. And they never took themselves too seriously. Good fun, worth several listenings, some of the most beautiful female vocals ever...

Complex (but never grating) melodies layered in ultra-subtle shades of pure tone float by in hypnotic, electrifying, unerringly tasteful understatement. 'Rotter's Club' is a timeless musical oasis, fully explored and singularly fixed in time. There is NO OTHER RECORD LIKE IT (or its predecessor, Hatfield and the North).

'Mumps' is probably the most ambitious composition written in the '70s outside the Zappa universe. Phil Miller's guitar is ultra-tasteful throughout and his solo on "The Yes No Interlude" is one of the the coolest I've ever heard. Dave Stewart is, bar none, the most supremely refined keyboardist you will ever hear. Sinclair's ocassional singing weaves itself perfectly into the textures underneath and Pyle's virtuoso drumming never gets in the way of things.

So, ignore Mr.Top 500 reviewer's ignorant comments, if there is any Rock-oriented Jazz-fusion record in existence that FULLY DESERVES FIVE STARS, this is it.

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.

I agree with Agent 007. This is my all time favorite album. It is the Heaven to Van Der Graff's "Pawn Hearts" Hell. A lesson in 4 man musical duties, while being so heartwarmingly silly and clever, you just melt. The side 2 opus "your majesty" is a compositional tour de force. "John wayne socks Phychology on the Jaw" is the best song title ever period. Dave sinclair is at his best on keyboards, the northettes are a dream.....i can't believe music was once this free and good. worn out 6 vinyl copies and 3 CD's since i first bought in 1975. still my favorite.

Urbane and quirky, this progressive rock-jazz (ultimately uncategorizable) cd repays repeated listenings with its innovative composition and flawless musicianship. Richard Sinclair's "It Didn't Matter Anyway" is the most poignant rock ballad ever penned, with a Jimmy Hastings' flute solo that redefines Western Civilization. The 20-minute opus "Mumps" has the subtle complexity of longer compositions by Soft Machine, Zappa, or Fripp, but Hatfield's riffs are catchier and more fun. A bonus track, "Halfway Between Heaven and Earth" falls somewhere between Caravan (a la "Winter Wine") and Hatfield, with an uncredited solo by David Sinclair--reason enough for buying the cd if you already have the vinyl. Most progressive rock sounds a little quaint today; The Rotters' Club is as fresh as (and more original than) any music from the planet.

Hatfield and the North released two studio albums in the mid 70's. For some reason the debut album never really clicked with me, but I do enjoy this, their second disc, "The Rotters Club". Along with Caravan, Hatfield seemed to be poised to be the next big thing from the Canterbury rock scene in 70's England. In fact the members of Hatfield: Dave Stewart, Phil Miller, Pip Pyle, and Richard Sinclair in retrospect were basically an all star lineup of artists that would influence a whole generation of music. The album is a cool mix of progressive rock, jazz fusion, and lengthy jams with each band member a master at their respective instruments. To me they have always sounded very similar to Caravan only with more of a jazz influence. The vocals are done by Richard Sinclair who has a unique approach that is distinctively English. No one else quite sounds like Sinclair. The lyrics are often non-sensical and are meant to be humorous. There is also a lot of hippy type sentiment in the lyrics as well, especially in tracks like "Share It". The highlight of the album is the 20 minute plus "Mumps" which features all of the elements that made this band great. If you are at all into the Canterbury sound this album is a must own.

If you like soft machine, matching mole, national health, caravan,robert wyatt and the rest of the Canterbury bands from the 70's you wil love this. If you've never heard their stuff then this is an excellent place to start. Quirky, eccentric, quintessentially English blend of rock and jazz. Sort of a mix between pink floyd and chick corea & return to forever. But words can't convey the amazing spark of originality this CD has. The book by the same title is also well worth reading especialy if you relate to the era of the UK in the 70's.