he was pissed.

@@charleselderton5546 Why?

You can totally get why Bruford hand picked him to play on his solo stuff

No expert, but doesn´t he sound a bit like Greg Lake?

@@pablomalaga4676 Greg Lake is known as a vocalist, a rhythm guitar and bass player, he’s not known for his electric guitar soloing! So I’ve no idea what comparison you’re making between Phil Miller and Lake!

@@terrypussypower To be fair he does actually sound like Greg Lake playing (rare) electric guitar on Karn Evil 9 fits impression part 2 about 2 minute in kzfaq.info/get/bejne/f92Dh8hq2s_YZGw.html

@@pablomalaga4676you mean, his voice? He does

Long live their reputation indeed! That being said, from certain standpoint, few parts of their repertoire match this Collapso video in terms of power. There are many promissing bits, but very often it feels to me like coitus interruptus instead of reaching the stratosphere. Fortunately nowadays it has become easier to develop complex pieces with help of computers. We don't have to rehearse and rehearse again, MIDI demos, if taken good care, show and are great tools to compare different options in structures, managing dramatic tensions, the use of patterns, etc

Chris's Cross - computers are still no replacement for real talent or, dare I say, genius. Mahler, Stravinsky, Beethoven, Ravel, Shostakovich ect, wrote insanely complex musical structures by first forming it in their heads and then writing it down on paper. Maybe testing the harmonies on a piano. Remember pianos? Listening to The Callapso again, I'm struck by how much the main melody sounds like George Martin's Theme One, as played by Van Dear Great Generator, and that the connecting passages are almost direct lifts from Stravinsky's The Rite Of Spring.

Beyond the fact I've only tripped on rare bits from either Mahler, Stravinsky, Beethoven, Ravel and Shostakovich's whole lot of monuments... , my experience with music is, one shouldn't confuse the composer's musical abilities and his own ways and tastes. There are musicians I'd consider not particularly gifted who can rip my guts, while pieces from top-World gifted musicians won't catch me. My point is, starting from something one lays down on computer has the huge advantage, one can try and edit anything very easily so as to fit it to one's very tastes, which takes up much more frustrations and efforts when composing on paper, regardless of one's abilities... I think you're right about how they'd compile George Martin sequences with Stravinsky's, less sure about VDGG. I like the result !

Actually, this line-up is Hatfield & the North with John Greaves replacing Richard Sinclair on bass. Top-notch musicianship nonetheless.

Are you sure there's any real difference? I've followed both bands for decades, and I think this is just the core National Health lineup - which is mostly Hatfield with Greaves instead of Sinclair; Dave Stewart joining Hatfield and replacing Steve Miller (Phil's brother) before the first album was recorded. This has always been a revolving collective that would get together in one combination or another under a different name, with a distinctly flavored musical project, with one of more free-floating Canterbury musicians joining at one time for another (see the overlap of National Health with and without Alan Gowen, Gilgamesh, Gong, Matching Mole - the bands with several of these musicians but involving Robert Wyatt on drums, before and after his fall and paraplegia; early Soft Machine with and without Alan Holdsworth (RIP), with and without Hugh Hopper on bass rotating in and out of several of these bands, preferring some of the more free-jazz inspired ones; SoftMachine's avant-garde jazz leanings also splitting off into the core group of Caravan, who were more melodic absurdo-pop; Soft Machine touring with Pink Floyd... sub-units of these bands joining with more or less free-playing jazz wind players (Didier Malherbe, Lol Coxhill, Elton Dean) for albums/bands like "Soft Heap", with its pic of a plate of s--t on the cover....this, to me, is the way of the Canterbury scene, so-called, since, after David Allen (Australian) and Wilde Flowers, the majority of the musicians never actually were from or visited Canterbury. This great collective of gifted, jazz and psychedelia-influenced instrumentalists, playing around with all different angles of prog, pop and pop-pastiche with absurd lyrics, flying spoons, and jazz-rock with a hard to define but easy to recognize aesthetic sense. The overlap of Hatfield and National Health is maybe the best example of how players would re-organize and become a "different" band, which was really one large band reforming with a different vibe, emphasizing more of this, less of that....but in the end, most of the players reminding the rest of the world that none of them actually associate themselves much with Canterbury except for the few who went to school there, like Robert Wyatt, and Hugh Hopper, who lived right outside Canterbury, but was one of more serious and least whimsical "Canterbury" style players. The best way to appreciate this "movement", is to just follow the trail of who played with whom and under the banner of which band name - and then enjoy seeing who came from outside this world (like Bruford, Holdsworth, and Dave Stewart) to play within it. And then finding the records where you can, and, if not, seeing what an amazing legacy is left on KZfaq.

Lucky bastard!

+Gabriel Rearte And Gentle Giant!

+Glyn Williams of course, the mighty Giant (except his last two ventures☺)

Another thumbs up for Gentle Giant here too. Frankly I'd put them in top three of greatest prog artists ever. Maybe even top two.

Totally agree Gabriel , National Health is really something special . They should have been huge .

my favourite part

Bloody brilliant!

duncan rmi same here but at Erics in liverpool

I saw 'em on the same tour at Folkestone Leas Cliff Hall

I was at the very same gig. Small world.

+Martin Beer (how apt...) does mr greaves seem a bit, ah, 'refreshed' to you? I read somewhere that he was rat-arsed by the time they taped this. good man.

+MrSchemltz - Agree! Amazing drumming but love the whole clip , mistakes and all

no question.

Really?? I love Stravinsky but fail to hear any quotes here. Timestamps?

Well, trial and error, I guess.

Erm, are you still single?

@@written12 lmfao

Except now we have Zopp! And even some fantastic Canterbury-abroad bands (like Supersister or MGP back in the day) with bands like Needlepoint and Magick Brother & Mystic Sister. Canterbury’s not dead!

Why must everything be a competition-- this "over" that, etc. It's counter to the soul of Progressive Rock/Jazz. I'll take this AND Bruford's stuff, and a bounty of other great music.

Nothing so dramatic; he's just throwing a box of cutlery onto a tin tray.

Lindsay Cooper passed away in 2013.

Something from Franck Zappa too

Stravinski too.

yep, Vand der Graff Generator "Theme 1"

Van Der Graff's version is a cover of the original George Martin (Beatles fame) version

Yes

So far

Another video that appeared in the credits ... I mean in the credits with all the other " stuff " that apparently had no credits they appeared once at the end of the show just like The Health... I'll give you a hint this link... kzfaq.info/get/bejne/apt7haiZq63Ygqs.html

You mean not like “the giant lobster take over bit”.

John was quoting from a Peter Blegvad text-and was magnificently pissed too!

@@joecrow1481 I did wonder. Quite charismatic though.

People have been saying that for two hundred years, because they missed Ludwig von Beethoven live. But it's "NEVER" too late to discover and appreciate magnificent music!!! ;)

+Whiskey River (Doc) ( sometimes I do feel depressed !!! )

Then find some great music and relax........that's the best remedy. I was only 14 when the great bands from Canterbury were emerging; and to make it worse, I lived a few thousand miles away. So no chance of ever seeing them live. That didn't stop me from enjoying a whole lifetime of great music; and I never let the radio, or the pop charts, or the neighborhood kids tell me what was great. I had to follow my own path to the music that moved me; and it usually wasn't mainstream stuff that everyone else was listening to. Good luck! ;)

+Whiskey River (Doc) thanks for your words ! infact I am listening to some neo prog bands, and Echolyn above all are caring my "depression". I'll be work out my state of mind, it's quite wrong or at least useless ! a pleasure to speak w you, cheers : )

As a millennial who is working at a philosophy department at a state school in the US who also happens to like progressive music (as do a great number of my friends ... who compose music ...), you couldn't be more out of touch. Keep spreading your conservative bogeymen though, it's pretty easy to see through them for anyone who happens to give them any thought at all.

@@sinisterbotanist oh bullshit. you might be in the rare place, but your university has not taught you how hollow it is to generalize your own experience like you are The Royal We. I have seen shit after shit after shit in US public university, control control control from these robber baron assholes who think they are professors. And most of the students are arse-sniffing hounds want some paper credential for their career. You'll figure it out in a decade or two.

@@snoolee7950 I'm not generalizing, it's literally a part of our discipline to teach students how to think. I interact with a great deal of other educators from other institutions (conferences, hello?) - they aren't playing a different game otherwise they'd be fired. And lol "you'll see when you're older" - what a tired trope. Just keep em coming y'all.

Shut up boomer

Aside from some armchair theorizing, morbid abstractions, and institutional jargon, universities dont teach you how to think now and they didnt then ✌️

No it's John Greaves.

John Greaves

see H. Cow.

Chuckles Mont Campbell was early member of this band (too) but left well before the first album. On the first album bass player was Neil Murray (Colosseum II, Whitesnake, Black Sabbath, GogMagog etc. ) and on second album and here John Greaves.