Innovative And Uncategorisable

Born in the titular Kent city in the late 60s, the Canterbury scene spawned some of prog's most creative and quirky acts. From The Wilde Flowers and Soft Machine to Caravan and Gong, each had a distinctive sound and, in many cases, image that captured the hearts and minds of their followers. But the scene's impact didn't end in the 70s. Phil Howitt, Facelift editor and Hugh Hopper's biographer, explores the new breed of progressive acts inspired by it, both consciously and unwittingly, and unearths the secrets of the 'Canterbury chord'.

- Phil Howitt

Back in the mists of 2015, in Prog 55, Sid Smith explored the existence of the semi-mythical beast that is the Canterbury scene.

The consensus is that it comprises a loose connection of musicians and music emanating from a band called The Wilde Flowers who gigged between 1965 and 1968 and whose members went on not just to form the classic Caravan lineup, but also an earlier nucleus of Soft Machine, alongside Mike Ratledge and Australian beatnik Daevid Allen (later of Gong).

The Canterbury scene would also come to encompass Gong, Robert Wyatt's Matching Mole, Kevin Ayers And The Whole World, Hatfield And The North and National Health, while taking in members en route from Egg and Delivery. A number of rock family trees, initiated by Pete Frame's The Incestuous Tales Of Canterbury Heads in a 1973 edition of Zig Zag, have expanded the definition to capture any loosely affiliated bands, most remarkably one penned by Japanese musician Osamu Sakamoto of Japanese 'Canterbury' band Soft Weed Factor, which incorporates Henry Cow, Camel, Curved Air, Roxy Music and the Police! As one might expect, debate continues to rage on social media as to how far to push the concept.