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Hatfield And The North
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Hatfield And The North

3 Mar. 2003 | Format: MP3

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Product details

  • Original Release Date: 3 Mar. 2003
  • Release Date: 3 Mar. 2003
  • Label: Virgin UK
  • Copyright: (C) 1973 Virgin Records LtdThis label copy information is the subject of copyright protection. All rights reserved.(C) 1973 Virgin Records Ltd
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 54:02
  • Genres:
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (16 customer reviews)
  • Amazon Bestsellers Rank: 22,244 in Albums (See Top 100 in Albums)

Customer Reviews

4.3 out of 5 stars
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46 of 47 people found the following review helpful By A. J. King on 31 Mar. 2006
Format: Audio CD
The Hatfields were the archetypal Canterbury rock band - good musicianship, modest egos, whimsical lyrics, a dash of student humour, a litle jazz, a little rock, complex time signatures and myriad sometimes vulgar key changes (often in mid phrase). The band's personnel tied them in to every other Canterbury band to varying degrees, whose interchange of ideas helped formulate the unique Canterbury "sound". Thus it is no surprise to see Robert Wyatt on one song, Jeremy Baines or Geoff Leigh on another.
The songs on the album frequently flow from one to the next with little discernible break, and vary in length from a few seconds to 15 minutes. THe distiguishing Hatfield sound consists of Richard Sinclair's poignant, melancholy voice, his fluent bass playing, and Dave Stewart's omnipresent keyboards. Less prominent are Phil Miller's understated jazzy guitar and Pip Pyle's drumming. Unusually a female choir - branded as "The Fabulous Northettes" augments the vocals with occasional beautiful aplomb. Outstanding tracks for me are Homerton on side one, and the strangely sad (yet typically meaningless) Fol de Rol, on which the phone rings half way through, which Sinclair answers, and the callers can be heard singing the chorus of the song from the other end! The song ends abruptly with the sound of the phone wordlessly replaced on the receiver.
Hatfield & The North are one of the few bands from the Seventies I can still listen to with pleasure, perhaps because they never made enough money to take themselves seriously, and with their short musical catalogue they left a small enthusiastic following yearning forever in vain for more.
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6 of 6 people found the following review helpful By TQ2Boyz on 15 Sept. 2012
Format: Audio CD Verified Purchase
How long can I rave on about Genus Canterbury?? Well, we know it sort-of started out with a loose conglomeration called The Wilde Flowers, out of whom grew Soft Machine, Gong, Kevin Ayers & The Whole World, Caravan, Matching Mole, Mike Oldfield (really!!), Camel, Khan, Steve Hillage and... of course... Hatfield & The North. One of the best elements of Canterbury was a sense of fun and an attempt to blend Jazz, Rock and humour into a giddy mix of spliffy joy, and the Hatfield lads had this in bucket-loads. This, their first album, was a bitter rougher round the edges than the sublime "Rotters Club" (should I dock it one star?? Naaaaaahh!!), but for a more rock-audience, it is a great starting point. Before you even start considering the astonishing musical dexterity of Messrs Sinclair, Stewart and Miller, just listen to the bewildering virtuosity of Pip Pyle on the drums. It takes a brave man to take on the multiple-time-signature dynamics of this bunch, but Pip is a drum wizard! Then tune into Richard's laconic Lewis Carroll lyrics; while all around him are exploding like a stray spark in a box of fireworks, Richard is leaning on a fireplace somewhere with a pint of real ale to hand. And then there's the dynamic duo of (the OTHER) Dave Stewart and Phil Miller; scampering, whizzing and hurtling along on thermals of invention and inspiration. Of course, the album is spattered with members of the Canterbury Coterie (most notably Robert Wyatt's world-weary scat-singing on "Calyx") and the impossibly sweet soprano of the ("Very Wonderful") Northettes. Don't try to isolate individual tracks, this is a throbbing, whirling forty minutes of tiddly glee that has any muso worth his salt chuckling into his little wooly hat. This music deserves to be heard by a much wider audience, but hey, sooner or later all Simon Cowell's little Frankensteins will turn on him... won't they??
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18 of 19 people found the following review helpful By AC Grant on 15 April 2003
Format: Audio CD
I've just listened to this debut album of Hatfield and the North, for the first time in 15 years (recently purchased the Caroline import CD). I have no reservations in telling the uninitiated that this is a work of pure genius in the progressive mode. Hatfield were the "marrying" together of four brilliant musicians : Dave Stewart (keys), Pip Pyle (drums), Richard Sinclair (Bass and Vocals) and Phil Miller (guitars), from progressive groups in and around the London/Canterbury area in the early 1970's.
Formed from such groups as Matching Mole, Egg, Gong, Caravan etc. This album was recorded at a time when fans such as myself believed that there was indeed somewhere to progress too. They were covering new ground, synths were still relatively new and not the glorious polyphonic keyboards that the modern digital studios use today. However, some of the sounds produced by the moog on his album would still favourably grace themselves on any new recording.
Most satisfactory tracks are Going up to people and tinkling (a beautifully phrased jazz meandering on the fender rhodes from Mr Stewart, ably accompanied by inventive playing from the rest especially Richard Sinclair on Bass), Calyx a track that includes guest star Robert Wyatt on vocals (Wyatt performs a solo "scat" which suggests the melody throughout and is reminiscent of Matching Mole, but is nonetheless sublime).
Probably, the finest track on the album is Fol de Rol (Sinclair) which again drifts along in melodic jazzy style and features a stunningly understated solo by Richard Sinclair on Bass.
Personally, I have always thought that this album along with Gong's You take over the progressive baton where Pink Floyd's Dark Side left off.
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