The Muffins are Canterbury influenced quartet formed in Washington D.C. in the year of 1973 by Dave Newhouse (keyboards, reeds), Billy Swan (bass) and Michael Zenterner (guitar, violin). Their sound is strongly influenced by the Jazz-Rock tendencies of Soft Machine, the improvisational techniques of Henry Cow and the quirky song structures of Hatfield and the North and The Mothers of Invention.
The new group remains nameless until one day, while the trio are discussing upon potential names, a friend of there's enters the house and shouts "The muffins are hear!" and conveying a tray of blueberry muffins, thus the band is born! A number of drummers are recruited off and on during the next few months…

Five years after the release of their last studio album, legendary UK musical institution, Soft Machine, return with a brand new CD/LP, Other Doors. Boasting new material and two numbers drawn from their extensive historical repertoire, Other Doors finds the band on their usual fiery form.

This album features three complete John Peel sessions recorded in 1975, 1976 and 1977. None of these have ever been released before. This CD is the second volume of Caravan's BBC radio sessions and between them the albums feature every available session that the band performed for Radio1. The John Peel sessions include tracks from the albums, "Cunning Stunts", "Blind Dog At St Dunstans" and "Better By Far". Personnel includes Pye Hastings, Mike Wedgwood, Geoffrey Richardson, Dave Sinclair, Richard Coughlan, Jan Schelhaas and Dek Messecar. The CD is released with the full cooperation of the band and features an eight-page booklet with comprehensive liner notes, band photos and detailed recording information.

This is the first of two collections of material Caravan recorded for the BBC, spanning the years 1970-1974. Caravan is one of the most versatile of the Canterbury family of English psychedelic and progressive rock, capable of winsome, witty pop songs as well as complex but melodic extended workouts. Songs for Oblivion Fishermen features examples of both styles. Half the disc features the band's original lineup with highly rated bassist Richard Sinclair. For the seasoned Caravan enthusiast, the repertoire is somewhat predictable, including standards "If I Could Do It All Over Again, I'd Do It All Over You," "Hello Hello," "In the Land of Grey and Pink," and "Memory Lane Hugh." To the band's credit, it does not attempt to recreate its studio recordings note for note, adding interest for longtime fans…

Contrasting the clever spoonerism from which Cunning Stunts derives its name, Caravan are heard on what is arguably their most uninspired material to date. The effort is certainly far from a total loss, but nowhere nearly as creative as their former studio effort For Girls Who Grow Plump in the Night (1973) - the likes of which sadly would not be equalled. Instead of commencing the affair with the aggression and spirit that informed previous LPs - such as "Memory Lain, Hugh" or "Waterloo Lilly" - which had christened their earlier albums, "The Show of Our Lives" comes off comparatively heavy and practically dirge-like. Caravan's trademark instrumental agility while perhaps temporarily mired, is not lost on Pye Hastings' uptempo rocker "Stuck in a Hole." Heavy-handed, superfluous orchestration - possibly a residual effect of their New Symphonia project from late 1973 - mars "No Backstage Pass" and the 18-minute "Dabsong Conshirtoe"…

With a strong Canterbury influence implanted into their sound, Egg's first album has the band looking to establish their niche as a progressive group, with Dave Stewart's sharp, effective keyboard work outlining much of the album's overall feel. Mixing jazz and progressive rock drifts, the tracks on Egg contain rhythms and meters that are never at a standstill, with ongoing instrumental action encompassing nearly every track. Numerous classical overtones make for a familiar listen against a backdrop of loose-ended jazz fusion and an unordered yet inviting array of haphazard progressive spillages.

Short Wave Live is the only album by Short Wave, a UK band related to the Canterbury Scene, consisting of Hugh Hopper (bass), Didier Malherbe (sax), Phil Miller (guitar) and Pip Pyle (drums). The band was formed in 1991. Miller and Pyle had been playing together in In Cahoots, which had previously also included Hopper. In 1993, they released a live album that contains material from concerts in England, 1991 and France, 1992. Short Wave was short lived - all members were also busy in other projects and bands. The album was reissued on CD in 2005 on Voiceprint Records.

The solo debut of Kevin Ayers, originally released in 1969 on the Harvest label after his departure from The Soft Machine, was the start of a brilliant and unique career. Joy Of A Toy is one of the greatest examples of late 60s music opening up to new influences and experiences. The result is an adventurous yet accessible masterpiece by a musician free of any artistic constraints.
In 1968, after an US tour with The Jimi Hendrix Experience, The Soft Machine’s founding member Kevin Ayers decided to leave the band. Unsure about their artistic direction, worn out by an exhausting schedule and reluctant to become another part of the music business, he sold his bass to Noel Redding and moved to Ibiza. However, soon after he started writing the songs that would make up his first solo LP, Joy Of A Toy…

This is a classic, the epitome of the band's early Daevid Allen phase with Ph.P.'s (pothead pixies) in full, blazing glory. In its infancy, Gong was a unique prog rock band that branched out in all directions at once while most other prog bands chose simply one path or another. Camembert Electrique is a testament to that. The band's eclectic "electric cheese" rock is a mixture of psychedelic rock, spacy atmospherics and lyrics, and doses of jazz often presented with a pop sensibility, yet always intense. From the first cut on Camembert, you are transported to planet Gong via the voice of a "radio gnome" who drops in intermittently to remind you you're not in Kansas anymore. Daevid Allen leads the band through several compositions musically (not lyrically) reminiscent of, and possibly influenced by, early King Crimson – a hard, raw-edged sound propelled by a strong guitar-sax-percussion combo.

In the Land of Grey and Pink is considered by many to be a pinnacle release from Caravan. The album contains an undeniable and decidedly European sense of humor and charm. In addition, this would mark the end of the band's premiere lineup. Co-founder David Sinclair would leave Caravan to form Matching Mole with Soft Machine drummer and vocalist Robert Wyatt in August of 1971. As a group effort, In the Land of Grey and Pink displays all the ethereal brilliance Caravan created on their previous pair of 12" outings. Their blending of jazz and folk instrumentation and improvisational styles hints at Traffic and Family, as displayed on "Winter Wine," as well as the organ and sax driven instrumental introduction to "Nine Feet Underground."