KHAN

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.

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.

Steve Hillage is unarguably THE guitarist in the Canterbury scene, and among the most gifted ones in the whole prog history. After making the Arzachel album with his fellows from EGG, Hillage returned to his studies at Kent University, Canterbury. In April 1971 he formed KHAN, which at first featured drummer Pip Pyle, bassist Nick Greenwood and keyboardist Dick Henningham. Caravan's manager Terry King got them a record deal, but before the sessions began, Pyle was replaced by Eric Peachey and Henningham's departure was replaced at the last minute by none other than Dave Stewart (of Egg and numerous, at the time future Canterbury bands), one of Hillage's old playing mates.

Space Shanty gives some foretaste of Hillage's later work as the GONG guitarist and a solo artist. Especially the echoey guitar sound - for example in the title track which is loaded with heavy psychedelia - was to become his trademark. The album is tight prog rock. Several tempo changes, soli and variations in the dynamics work brilliantly on long tracks such as 'Mixed Up Man of the Mountain' and 'Driving to Amsterdam'. Hendrix-influenced guitar is the central element in this melodic and lively prog. On one moment it may sound a bit like Genesis, on the next moment like Camel, and on the next one... Well, it's better to say that Khan had a full-blown style of their own. On the Canterbury scene it represents its rockier side, and also slightly more vocal-oriented than Canterbury on the average.

Stewart's organ and electric piano are best heard on the calmer track 'Stranded'. The album fully deserves the classic status. During the summer and autumn after the release, Khan toured with an unstable line-up and practiced for new material (some of which was to appear on Hillage's solo debut Fish Rising, 1975), but the band came to its end in October when Hillage joined briefly Kevin Ayers' band. From then on he continued his colourful career as the Gong member.

REVIEW N' 200 - Khan: Space Shanty (featuring Steve Hillage and Dave Stewart).

Ready for a space adventure? So... Don't forget your towel!

Khan's only shot is the treasure of the Canterbury scene. Flawless. A perfect album, filled with everything that I ever wanted: SCI-FI theme, a cover art that seems to be the ruins of the Space Battleship Yamato, progressive tracks, organ and guitar amazing interplay, Canterbury Jazz + a little bit of psychedelia, cool lyricis, space pirates, a bearded manly drummer, catchy bass lines... Everybody needs a Space Shanty's copy. The latest CD version includes two bonus tracks and a very interesting booklet, featuring the story of the band and members, curiosities from the Canterbury scene and funny comics. It's symphonic. It's heavy. It's an essential album for any classic rock or progressive collector. Unfortunattely, Khan had a short lifetime, and a short time to record their songs, so you will find a lot of trippy, jams, and Canterbury fusion passages, but no fillers. I think I already said: Space Shanty is perfect!

The title track, Space Shanty (Inc. The Cobalt Sequence and March of The Sine Squadrons) start as a mix of ELP and Deep Purple, following jazzy chords and riffs, connecting the heavy rock with the smooth, beautiful feeling which is a trademark from the Canterbury tunes. Steve Hillage and Dave Steward playing together sounds like soul mates. The track development really works, passing through many different sections, and some of them, makes me feel like a space pirate tripping around the seven corners of the universe. The electronic experience of the keys and organ sometimes fits perfectly with any space crusade for me. The solo times, full of reverb/delay, work as a key unlocking an early unknown door into the deepest side of my mind. I can clearly feel the drums and bass echoing inside of my body. But, that's not enough, the next track brings me back to outer space, I just felt like I have been there before, a distant illusionary nostalgia...

... This is called Stranded (Effervescent Psychonovelty No. 5). A beautiful melody. Leaving the earth behind, I can feel the lull of the space. When the vocal part begins, you will notice that great bass riff. That's Nick Greenwood. He came from the final incarnation of The Crazy World of Arthur Brown. The chorus is brilliant, harmonious and I love it. Good chills! The smooth jazz touch with that gorgeous keyboard playing hits the right nerve, provoking a pleasent listen, everytime. You will find some notes within the album pack, saying: "Our very special thanks to DAVE STEWART who fitted in our sessions in between heavy commitments with his band EGG". I have to agree, that is an admirable effort, for sure. Stranded is the meaning of Canterbury style. A good job at Hillage's solo, living up to his nickname, the "hippie from outer space". He was very influenced by musicians like John Coltrane and Jimi Hendrix, but his way of thinking and feeling music makes him one of the best and unique guitarists of the entire psychedelic rock scene. The instrumental variations are great passages. Hillage's voice is just the way it should be. It fits the music like your favorite socks in your feet during the coldest night of winter. I like when the whole band are singing together too. Some bands and duets are not able to do this in a pleasent way. The ending atmosphere of the track rides to the next step of this awesome album. The Space Shanty moves on, accelerating and reaching the third track.

The last track of the first side. Mixed Up Man Of The Mountains. The song begins with an atmospheric background and Hillage's catchy vocal line. The song suddenly explodes with a heavy psych guitar riff, and goes on. Catchy drum/bass. My interpretation for the lyrics are multiple. It could be a follow up for the previous track. It could be just about flying. Maybe about freedom, or even suicide. I don't know, but that's a pretty hot track. The random section after the phrase "But soon as I am here I have to go" is strangely fine. I like that guitar solo accompanied by the 'vocal solo' (or the vocals accompanied by the guitar?). A trippy song, and a perfect ending for Space Shanty's first side.

The second part of the Space Shanty's journey through the universe and beyond start with Driving To Amsterdam, a song initially insane. The Canterbury jazz fusion intro is highly special for me. It's time for Dave Stewart to shine! This guy knows how to work and move your feeling to the right place. Steve Hillage proves to be a blues master with his riffs, solos and improvisations. The musical friendship of Steve and Dave is far beyond expectations! Driving to Amsterdam has a soulful songwriting and performance. It's the B Side track equivalent for Stranded (A Side), and the longer track from the album.

Stargazers intro sounds like the Canterbury intro for Tarkus. Freak as hell. It's outstanding. Steve Hillage dissonant and schizophrenic solo in the middle of the opening is sorely inspired. The whole album was filled with unexpected moments, and this track has a list of good moments, during only five minutes and a half! Maybe the most adventurous song from the Space Shanty timeline, here is where you will put your foot down on moon! It is the most happier song from their repertoire too. This song brings me the sensation of find the unexplored. The symphonic organ and the melodic chant are summoning the unknown before my eyes through my ears! Can you believe it? Just open your mind, listen to the track and see.

So, the last song of the original recording: Hollow Stone (Escape of The Space Pirates). This is the properly ending track, with an ending atmosphere, playing riffs ending passages that makes you think "hey, this is the ending theme". Almost there. The band returns to the calm and quiet stream, and if you have been enjoying the whole album, you will probably like this track like any other one. So profound. The final minutes are full of technological noises and experiments, and you will clearly imagine that Steve Hillage's solo like Steve Hillage's waving goodbye, and jumping inside his Space Shanty calling for a hot burrito after traveling the whole space hungry and playing prog for you guys.

The bonus tracks works pretty good, and sounds like a continuation of the album. Break The Chains rules. Wonderful surprises are waiting for you. Long live KHANnterbury!