KHAN

Once again, the Canterbury scene produced an incredible masterpiece! Though Space Shanty is a somewhat crude, rough, and unorganized album, the music speaks for itself when it comes to skill and intelligence. The vocals, though not incredible, fit the sound well and round the album out quite nicely. The guitars and keyboards dominate the style, and do so with finesse, perfecting Khan's canterbury progressive-psychedelic sound. The bass and drums provide an excellent rhythm section as well. And even outside of the sound, the album art is just rad, and goes with the album title well.

Overall, this is an incredible example of classic canterbury progressive rock, and a must-have for any prog rock fan.

Initially I was not over the moon about this album due to the man in charge, Steve Hillage being known for his work in Gong, a band I dislike so I came at this album with a negative attitude. Fortunately, the music shone through and album has quickly become a favourite. From the tasteful guitar work replete with chords and little clean runs that are traded with Dave Stewart's keyboard parts for a really nice combo. The bass riffing fills out the rhythm/low end and clean cymbal work brings everything together.

I find every song enjoyable in its own way start to finish, from the instrumentals to the vocals. I love the fantastical album cover, song names and the lyrics are sublime. An excellent album I didn't want to enjoy but simply couldn't although, I don't find it to be a particularly exemplary display of the Canterbury Scene. It has a more mainstream Progressive Rock (You can tell it's rock which I don't think is the case with bands like Pichio Dal Piozzio or Matching Mole) mixed in with Canterbury elements so I'd give it a 3/5 for Canterbury Sound Score.

Canterbury-Adjacent Heavy Prog Steeped in Jazz and Space Rock

I suppose it's worth saying right off: Space Shanty, the sole release by would-be Heavy-Canterbury Prog supergroup Khan, is one of my favorite albums of all time. Simply put, it's one of the greatest albums that have ever touched these ears. Khan's membership includes most prominently keyboard wizard (literally my favorite keyboardist) Dave Stewart and guitarist Steve Hillage (time and again I find to be one of my favorite guitarists, certainly). They were both members of Acid-Blues Rock group Uriel with Mont Campbell and Clive Brooks, releasing just one self-titled album as Arzachel in '69. With Steve's departure from the group, they changed the name once again, effectively forming the classic Canterbury Prog trio Egg. When Egg disbanded--for the first time before releasing their final album in 1974--Stewart and Hillage joined forces with former Crazy World bassist Nicholas Greenwood (providing his gruff Arthur Brown-esque baritone) and drummer Eric Peachey. Likewise-not-actually-Kentish drummer Pip Pyle was briefly in the band before Space Shanty's recording.

It all begins with the super-epic, mini-epic title track, "Space Shanty". The full-ensemble cacophony dies away and Greenwood enters in vocally. And what follows is pure beeves. One of the things I appreciate in this, enjoyable throughout the album, are the close harmonies between him and co-lead vocalist Steve Hillage. And this is a great showcase of Hillage's and Stewart's ability to play around and off each other. The soloing sections throughout the album range from beautiful and feeling (heard here around minute 2) to raucous and frightening (though less so the latter). This opener is also just a fantastic composition. So much interest. So much to keep pulling you in. And Dave Stewart just always blows my mind. I must say, the person I mention the least is Eric Peachey on drums, but seriously he is just incredible. The band is so well-balanced. Continuing along into the middle section, we get hints at circus fair, Heavy Metal, a little bit of neo-classical (see minute 6), and a heavy dosage of the Avant-garde. The solos nearing minute 7 is one of my favorite moments in music. Total mind-blower, and a fair representation for what's to come. Now, how can I say way less for the rest?...

We get a huge tonal shift for what's next, the beautiful, awe-inspiring "Stranded". What I would consider Dave Stewart's (one) signature Hammond sound is well on display here. This track also has Steve Hillage on lead vocals, soft and emotive. Love him. Just get yourself ready for the section change around the midpoint. I'll keep it down over here in the back, but... I'm in heaven haha. Queue one of my favorite 'solos' ever. Literally Steve duetting himself, eventually switching to this bright acoustic guitar. Once again, a total mind-blower, what the f*ck. Moving right along, seamlessly we get "Mixed Up Man of the Mountains", another Greenwood-fronted number. This song just grooves, Peachey laying down a solid foundation and Nicholas melodically bassing. This band rules haha. And then he scats along with the keys, before another epic guitar-keyboard back-and-forth. Moments like this are why doctors recommend putting this whole album on a few times a year, at least. Some of the swirling synth effects Dave puts on make this pure Canterbury, resembling in part Soft Machine's Mike Ratledge, for instance. And then queue up this absolutely sexy, soaring guitar solo right about the 5 minute mark. Wrap it up, call it a day; another perfect number.

This is then followed by "Driving to Amsterdam", what I always considered to be a sort of sister song to Egg's nearly-as-long "A Visit to Newport Hospital". And they start off with a boom, shifting into another section of jazzy beauty and grace. I always considered this also to be just a little bit more perfect than the rest of the album haha. It gets a track-specific rating of 5.5/5.0. Gorgeous, and inspiring. I expect to cry if it comes on haha. Hope you experience a comparable joy. Another where Peachey is distinctly on fire. Another fantastic keyboard solo, atop Eric's rolling, bubbling tom-play. Hard Bop shifts into view as Steve then takes up the soloing. F*ckin' delicious stuff here. Dave's buzzing Hammond takes over once more for a brief movement back into Heavy Prog territory before the equally astounding ending.

Quickly coming to its close, next is the freakishly upbeat "Stargazers", at times most Avant-garde, dissonant and chromatic. I love the way Steve and Nicholas trade off lead vocals on this one. Steve then has a great solo, fuzzy and emotive. He is just a master of the instrument. And speaking of masters, the next solo, after the second chorus, a very at-times guitar-like keyboard solo, comes from the inimitable Dave Stewart. Such a fun track. This is then followed, again starkly juxtaposed, by the final number, "Hollow Stone". So much to take in and enjoy, just on a sonic and emotional level. Many of the tracks have fun section names, like "March of the Sine Squadrons" off the title track and "Effervescent Psycho Novelty No. 5" off "Stranded", but most memorable, I believe beginning here in the sixth minute, is on this one: "Escape of the Space Pirates". What a killer closer to an absolutely essential album. [By the way, I believe what is effectively the final chord of the album is the first chord on the album, so hypothetically, I could listen through this over and over and over...]

For those who somehow care, my True Rate for this amazing album is 4.958333/5. Certainly notably better to me than some of the best regarded albums in all of Prog, classic, newer or otherwise. I'm always astounded by the album and I get excited just talking about it, but especially showing it to someone new. Anyhow, enjoy. Ramble over. [Much shorter review than I could have imagined haha.]

Review Nº 434

Khan was a UK progressive rock band associated with the Canterbury scene. They were only active in 1971 and 1972 and released only one album, "Space Shanty". "Space Shanty" was released in June 1972, followed by a UK live tour supporting Caravan. It's a truly classic progressive rock album of the Canterbury scene. It's a question of love or hate to proggies. Some love its loose, jazzy jams, and others hate its hippie lyrics and flowery arrangements. Some others say that its sound has more to do with a hard rock album than to a Canterbury classic album. But what's more notable is that "Space Shanty" is a distillation of the many styles of the Canterbury scene, with its cosmic hippy humor, the fascinating and busy arrangements but, above all, it remains completely new, fresh and exciting. This is a progressive rock album of the first class, and it's, definitely, one of the best albums where Hillage and Stewart have played together.

Khan was a supergroup, one of the first ones. As is typical with the Canterbury scene, each member was also a member of a number of other bands. Keyboardist Dave Stewart played with Arzachel, Egg, Gong, Hatfield And The North, and National Health, to name a few. Guitarist Steve Hillage went on to play and record a number of notable albums with Kevin Ayers, Gong, and as a solo artist. Bassist Nick Greenwood had done time with the Crazy World Of Arthur Brown.

So, the line up on the album is Steve Hillage (vocals and guitars), Dave Stewart (organ, piano, celesta and marimbas), Nick Greenwood (vocals and bass) and Eric Peachey (drums).

"Space Shanty" has six tracks. All tracks were written by Hillage except "Mixed Up Man Of The Mountains" which was written by Hillage and Greenwood. The first track is the title track "Space Shanty". This opening title track is very representative of the album, both in quality and style. It has lengthy and complex tones with strong melodies, riffs and much extended instrumental parts that will impress and satisfy any true progressive rock fan. Stewart's organ sound is immediately recognisable, and the addition of Hillage's guitar work gives the band a sonic range that the otherwise excellent Egg didn't have. There is a slight space edge to some of the instrumental parts, quite natural with an album's title like this, but I still wouldn't consider the overall sound on the album to be spacey or space rock. The second track "Stranded (Including Effeverscent Psycho Novelty No. 5)" features a beautiful, deep organ tone by Stewart along with a sprinkling piano and a very strong vocal melody. The instrumental part burst out in a heavy riff, and an acoustic flamenco influenced guitar solo makes a surprising and nice appearance. This song flows right into the next one, "Mixed Up Man Of The Mountains". The third track "Mixed Up Man Of The Mountains" starts with a fairly straightforward rock beat played at a stride. The instrumental parts on this track has a slightly jazzier feel, with wordless vocals and lots of soloing between Hillage and Stewart with some of the best Canterbury prog jamming that you'll ever heard. The fourth track "Driving To Amsterdam" also starts a bit jazzy and turns quickly into some delicious melodies played simultaneously by Hillage and Stewart. It features some particularly fiery keyboard work by Stewart with his prepared keyboards. The melody on the vocal parts is probably the most beautiful in the whole album. The fifth track "Stargazers" reminds a lot of Gentle Giant and the song itself is a progressive rock at its catchiest and most immediate. It features some excellent guitar solos from Hillage along with patented guitar and organ interplay, between both, and some tasteful and prominent rhythm section of bass and drums. The sixth track "Hollow Stone (Escape Of The Space Pirates)" has some soft and pleasant vocal passages with Stewart's dreamy organ in the background, while the more distorted side of his sound dominates the solo parts. The track ends with an incredibly grand sounding heavy riff that creates a hell of a climax to the song. This is another excellent track that concludes brilliantly this great masterpiece.

The 2005 reissued release includes two bonus tracks, "Break The Chains" and a fantastic first version of "Mixed Up Man Of The Mountains". With these two additional tracks the running time of this new release increases to 55 minutes.

Conclusion: "Space Shanty" is a must have and it's too bad that they didn't last long enough to make more albums. The music has a real sense of scale and joy, and the guys are clearly enjoying themselves with their instruments. The recording is warm and straightforward with panning and flanging done to a real good effect. The music here is quite innovative, particularly with combining effects pedals with keyboards. In this time weren't relying too much on studio trickery and tape manipulation. This is one of the jewels in the crown of the Canterbury prog and one of my favourite albums of that sub-genre. It's highly recommended for all fans and collectors of the early 70's British progressive rock scene. Canterbury rock didn't start with Khan. But, if you're not intimate with that genre, then "Space Shanty" would be a perfect place for you to start, despite its heaviness. This is a pure gold plated classic progressive rock album, really.

Prog is my Ferrari. Jem Godfrey (Frost*)

Khan were a short-lived Canterbury Scene band who got together to record one outstanding album "Space Shanty" in 1972 before breaking up shortly afterwards. The band featured guitar legend and singer Steve Hillage, who later went on to success with Gong as well as having an illustrious solo career following the release of his first album "Fish Rising" in 1975. On keyboards was Dave Stewart (not to be confused with guitarist Dave Stewart of the Eurythmics), a distinguished keyboard player who was a member of the Jazz-Rock bands, Egg, Hatfield and the North, National Health, and Bruford, at various times during his long career. He also played together with Steve Hillage on the Arzachel (Uriel) album in 1969. Dave Stewart later worked with Barbara Gaskin (formerly a member of Prog-Folk band Spirogyra) and they teamed up to achieve single success in 1981 with "It's My Party {And I'll Cry If I Want To). The bass player on Khan's "Space Shanty" album was Nick Greenwood, a member of The Crazy World of Arthur Brown, and on drums was Pip Pyle, a talented drummer who went on to be a member of the Canterbury Scene bands, Gong, Hatfield and the North and National Health. The "Space Shanty" album contains six long epic pieces of diverse music of between 5 and 10 minutes duration, consisting primarily of a heavy prog, hard-rocking sound, interspersed with some quirky Jazz-Rock passages and quieter melodic moments, Khan sound like a heavier version of Caravan in places, and all the better for it too. "Space Shanty" is a very gratifying album to listen to as a whole and warrants repeated listening to truly appreciate the musical delights on offer here. The 2005 CD reissue of the album contained two bonus tracks.

"Space Shanty" opens in spectacular style with the title track, a song of awe-inspiring power and versatility, demonstrating the musical prowess of the four talented musicians to the fullest extent. This is Prog-Rock at its absolute best: heavy and loud and proud and displaying breath-taking musical virtuosity, guaranteed to leave the listener enthralled and astounded at the same time. Next is "Stranded", a beautifully melodic song which warms the heart with its lush harmonics and emotionally charged vocals. The song features an intricate, instrumental Jazz-Rock break to delight and entertain the listener. This memorable song represents another perfect demonstration of the musical virtuosity of these four amazingly talented musicians. Song No, 3 "Mixed Up Man of the Mountains" continues the album in similar epic and dramatic style, with a powerful Hard Rock sound combining well together with some complex Jazz-Rock sequences. Side Two opens with the longest song on the album "Driving To Amsterdam", a 9-minute-long song which displays its Canterbury Scene credentials to the fullest extent, with a heavy "Caravan-esque" Jazz-Rock sound and featuring some masterly guitar riffs and keyboard virtuosity from the combined talents of Steve Hillage and Dave Stewart. The penultimate song "Stargazers" is another heavy Jazz-Rock number with some interesting changes of time signature and dramatic changes of pace. "Hollow Stone" brings this memorable album to a suitably impressive close with emotionally wrought vocals and a spectacularly heavy and powerful sound, very reminiscent of some of Uriah Heep's epic songs.

The "Space Shanty" album is a classic which has stood the test of time, and still sounds as fresh and original today as it did at the time of its release way back in 1972. Thanks to ProgArchives and YouTube, this album is now receiving the acclaim and recognition it truly deserves. "Space Shanty" will delight and astound Progressive Rock lovers everywhere with its awesome power and virtuosity. It's an absolutely essential album for any discerning collector of classic early 1970's Prog-Rock.

THE GRAND VISION OF THE WILDE FLOWERS FINALLY COME TO FRUITION.

Any fans of progressive rock's Canterbury Scene are keenly aware that the whole thing began back in the mid-60s when the pioneers Kevin Ayers, Brian Hopper, Richard Sinclair and Hugh Hopper created the blueprint for the whole scene with the proto-offerings of the Wilde Flowers, however due to creative differences the band never realized their visions and splintered into Soft Machine and Caravan which would create a snowball effect for an entirely newly established branch of jazz-rock fusion. With a fork in the road, each set of musicians splintered into different directions. While both started out in a more playful psychedelic pop with progressive leanings mold, by the turn of the decade, Soft Machine was a full-fledged jazz-fusion instrumental band and Caravan had polished their progressive pop chops.

Fast forward a few years down the road and a fledgling Steve Hillage was just getting his feet wet in the music world after working in the psychedelic blues rock band Uriel aka Arzachel in 1969. As a result of the remaining three members forming Egg after the band split, Hillage found himself exposed to the world of England's Canterbury sound and learned a few tricks from his continued involvement with his former team. After a few years of academic studies, Hillage had the itch to start a new band which resulted in his next project KHAN which consisted of the lineup of Nick Greenwood on bass after his stints with The Crazy World of Arthur Brown, Dick Heninghem on organ and Pip Pyle on percussion but quickly Pyle joined Gong and was replaced by Eric Peachey. Soon after Heninghem baled as well leaving the entire project in question.

Despite having recently joined Egg, Dave Stewart came to the rescue and contributed his keyboard playing skills between gigs all throughout 1971 to KHAN's one and only album SPACE SHANTY. The sessions began with only Hillage and Greenwood which would set the stage for the final outcome. If you are lucky enough to have heard the remastered edition that contains the two bonus tracks "Break The Chains" (which never made it onto the album) and the first version of "Mixed Up Man Of The Mountains," it would all make sense as how SPACE SHANTY evolved from being super catchy pop rock songs with flowery hippie inspired lyrics to a more sophisticated slice of prog rock that craftily mixed Canterbury inspired progressive rock with jazz fusion and space rock. The formula was set and teased out until it created one of the Canterbury quintessential listening experiences that stands out from all the rest.

SPACE SHANTY is a brilliant mix of 60s almost Cream inspired harder edged rock in fine compositional form with the melody as the primary feature. Someone forgot to tell these guys that the 70s weren't about peace and love any longer and that cynicism and darker tones were in! Well, never mind. KHAN somehow didn't get the memo and remained staunchly in flower power mode with heart-warming lyrics that make you scream "power to the people!" Despite this extended flirtation with idealistic optimism, the music is off the charts outstanding. Of the six tracks, each begins with a beautifully arranged pop rock song that after a verse / chorus / verse normalcy begins to drift off into the progressive rock universe with each passage organically shapeshifting from various styles of space rock to jazzy fueled fusion to organ driven Canterbury heaven. The result is in my mind exactly what the Wilde Flowers were hoping to achieve had they stayed together.

The opening title track perfectly states the entire mission with the opening "I need you and you need me" belted out in poetic prose and vocals that remind me somewhat of Kansas. After the initial lyric driven rock in melodious splendor, the track deviates into "The Cobalt Sequence and March of the Sine Squadrons" which displays the veritable talent of the musicians involved in the KHAN project and although Dave Stewart and Hillage rule the show with blistering solos and time signature rich outbursts, hats off to both Nick Greenwood and Eric Peachey for finding ways of inserting their genius within the nooks and crannies. KHAN came off as a super group even at this early stage of the members' respective careers.

The entire album follows suit with melodic "normal" rock intros drifting away into a rotisserie of musical genre mashups with each musician finding abnormal ways of musical expression, ranging between loose jazzy jams and space rock extravaganzas with the track finding resolution by ending with the same vocal led melodic rock from which started the whole thing. Some tracks like "Driving To Amsterdam" display more phenomenal than usual keyboard outbursts from Dave Stewart and "Stargazers" finds the perfect way of juggling hyperactive progressive angularity with gentle placidity as the two styles alternate. This album is pretty cool as it displays not only much of Hillage's bluesy guitar rock of his Arzachel project but finds him perfecting his space rock echo approach that he would fully unleash once joining Gong.

I really can't think of another album that so brilliantly melds the 60s ideals so well into a 70s progressive rock context. The brilliant musicianship and virtuosic outburst meld perfectly with placid mellow melodies that would come crashing down if not for the strong vocal performances of both Hillage and Greenwood. Everything serves the greater good of the atmosphere and melody on this one and the result is brilliant and compelling. Forget the hideous cover art. Ugh. The music is some of the most brilliant that the Canterbury Scene has to offer. Yeah, this was a grower for me as i had the initial ick factor with the flowery verbiage and rather dated organ sounds but the more i listened to this one, the more it weaseled its way under my skin.

Yes, this does have a dated sound but not every classic has to be timeless in nature. This is a masterpiece of the era and instantly takes me back to the classic musical year of 1972. This was a great start for Hillage. Unfortunately the band collapsed fairly quickly and despite some material being prepared for a second album, much of that would find itself onto Hillage's first solo album "Fish Rising." While only existing for a brief moment in time, KHAN somehow managed to create one of the ultimate classics of 70s progressive rock that has held up over the years. It was certainly an acquired taste for me but one i finally captured as i let the melodies sink into my skin first and then let the more fancy shmancy complexities follow. Great lyrics, great melodies, great technical wankery. What more could you possibly want? One warning is that this is mood dependent. I haven't found this brilliant on every listen but in the end, it is.

Excellent start, but loses momentum.

A very interesting and unique one-off Canterbury-scene album, notable for having Steve Hillage and Dave Stewart both present. This band has a lot of energy, and Steve Hillage's guitar playing is great. The album kicks off to an excellent start with the title track, which mixes feel-good vibes with complex time sigs and changes, very interesting melodies and great guitar solos. Although this is the highlight of the album, the first three tunes are all very good (the second-best song on the album is the third track - "Mixed Up Man of the Mountains". Really special. Things slow down on the second side of the album though. Driving to Amsterdam has some good sections, but it also drags a bit, and then Stargazers and Hollow Stone don't (for me) stand the test of time. However, the first side surely does, and one can hear right away Hillage's distinctive guitar playing, reminding the listener of his work on the Gong trilogy albums. On balance, this album is in the low 4 PA stars, with a rating of 8.1 out of 10 on my 10-point scale.

This is the very best Canterbury album there is. A little bold? Perhaps, but what Khan manages to accomplish on their sole disc is something really special, that sets it apart from a flood of other incredible albums.

First off, I'd just like to give major kudos to all the musicians involved. Dave Stewart and Steve Hillage need no introduction, and their interplay throughout all of the album's many instrumental passages is top notch. The chemistry within the band is unparalleled, with all of the album's complex arrangements sounding very natural and organically flowing. Lately I've also been paying particular attention to the bass playing of Nick Greenwood; what an underrated musician! Even though the organ and guitar steal the show, Nick manages to keep up really well, and plays all sorts of interesting and unconventional licks throughout. From a technical standpoint, it's pretty hard to beat how well all four members of Khan play.

Of course, well-played albums are a dime a dozen in the prog world, so that alone can't define a masterpiece. So what else does "Space Shanty" have going for it? What really resonates with this album for me is the atmosphere it creates. There are a whole lot of influences on display here, from smooth jazz fusion, to hallucinatory space rock, to heavy psychedelic blowouts, to soulful blues passages. And, miraculously, all of these different genres are so well balanced in every track that a unified sort of nocturnal atmosphere comes into fruition. Often melancholy, meandering, inviting, there's a definite coherence of mood throughout the whole affair. I think it can be best described as a very nostalgic, "coming-of-age" type of feeling. I highly recommend putting this on as a night driving album, it seems almost like it was made for it!

Now just because "Space Shanty" is well-played and engulfed in a beautiful atmosphere, does that really quantify it as the "best Canterbury album there is"? I think that those criteria alone are enough to push me to a 5 star rating, but what really makes Khan's album the shining star of the Canterbury Scene is in its approach. Canterbury, lighthearted as it is, is one of those genres that seems to be very conducive to abstract silliness, and, quite frankly, a whole lot of noodling. Khan's greatest strength is their ability to take all of the typical Canterbury aesthetic and to channel all those absurd ideas and influences into something so structured, tangible, and ultimately very emotive. Call it "Canterbury-for-those-who-don't-really-like-Canterbury" if you like, but what I believe really sets Khan ahead of Soft Machine or Hatfield and The North is that, as splendid as the musicianship on those records is, there's a bit too much of a niche appeal to their style. But with Khan, even if you take the "Canterbury" descriptor away, "Space Shanty" is still a masterpiece. 5 solid stars for this beauty.

Khan was a short-lived project formed by Steve Hillage, who had just completed his studies and was now ready to participate in musical projects. After a few line-up changes, he teamed up with a bassist Nick Greenwood, previously of Crazy World Of Arthur Brown, a drummer Eric Preachy, and his old friend, the keyboardist Dave Stewart, whose band Egg had just disbanded the same year. The quartet's only album, Space Shanty, was released in June 1972.

What really sets Space Shanty apart from most Canterbury scene works is the emphasis put on songwriting. In result, what we get are organized jazzy ballads with phenomenal improvisational parts. The musicians draw some of the most beautiful and moving soundscapes in the sub-genre. There is something really soporiphic about Space Shanty. Usually, it would not be a compliment, but in this case, the factor gives it a really unique flavor. It's not heavy on one's thoughts, without sacrificing the sophisticated factor. The band often finds itself in scenarios including odd time signatures. Improvisation does not play a crucial role and solo instrumental parts are only one of the elements contributing to Khan's distinctive musical extract.

Steve Hillage's soft, pastel guitar passages combined with Dave Stewart's lush, smooth keyboards are what mainly contributes to the effect of the album. Hillage is also capable of some phenomenal rock solos, which remind me a bit of Andy Powell of Wishbone Ash. His singing is gentle, light, and almost angel-like in places. Dave Stewart's playing is as always close to perfection. Not only does he proficiently draw affecting ambient-like textures, but he is also capable of great rhythm play and rapid solo parts. The rhythm section of Nick Greenwood and Eric Preachy lays down some great grooves and keeps up with Khan's dynamic and lively style.

All in all, Khan's only release is one of the most emotion-filled progressive rock albums. What would Khan have been able to do if they continued as a band? We can only imagine. Space Shanty is a truly unique masterpiece and is a must-listen for every progressive rock fan. Five stars!

I'm in love with this album. The calm atmosphere is absolutely harmonious between the organ, the guitar and the voice. The duets between the guitar and the keyboards and even between two guitars are fantastic. A litle bit of Camel but in my opinion, it's a masterpiece of Canterbury Scene. A great music construction inspiration, and we must listen with a good stereo material, because the studio engeneering sound, was made the duets in two different record pists. A beautiful record with songs and music, that we follin in love and whant listen one more time. Beutiful keiboards and beautiful guitar arrangements. The only record of this band that I now and one of my favourites ever. I give 5 stars because it's really a masterpiece and in my opinion, one of the most canterbury Scene beautiful album's ever made.