j o n b

The late 70s were not particularly kind to progressive rock and its fans. By 1977, the genre's popular period was all but over, the founders of the genre had undergone significant changes (Gabriel and Hackett had left Genesis, King Crimson was gone, and Yes was beginning to slide towards 90125), and new prog bands simply didn't exist. It was in this atmosphere that some veterans of the Canterbury prog scene came together to form National Health. It was one of the few bright spots of late 70s prog. As one might expect from a group of Canterbury vets, National Health took a jazzier approach to prog than some others. However, unlike some of their earlier contemporaries, National Health tended to be a bit more focused in their writings. On this first album, there are hints of both schools of thought, represented by keyboardists Dave Stewart (more structure) and Alan Gowen (more improvisation). For the most part, the album strikes a nice balance of the two. The album starts off with its best and most illustrative track, the epic "Tenemos Roads". It is a fairly well developed tune, with a recurring "theme" of sorts, first expressed and then returned to by Gowen's synth playing. Stewart's lyrics, sung well by Amanda Parsons, help things move along. However, about midway, it does bog down into a section of pointless noodling, before moving back into familiar territory for a big finish. The rest of the album displays those characteristics (minus the lyrics), sometimes leaning too much one way or the other. Nothing quite measures up, overall, to the opener. I can imagine the impact of National Health when it came out in 1977. It must have been a huge breath of fresh air for prog fans and a hope that things might get better for the genre. No such luck, I'm afraid. But at least there was this very fine album to tide folks over. review by Jon Byrne — 8-21-00 —

b o b

Since my only experience with this music is from the Complete album, I'm not used to thinking of the tracks in terms of their original albums, but I'll try to review them that way. Many fans have expressed the opinion that this band pretty much defines the Canterbury sub-genre of prog, or at least the jazzier side of it. If you've heard bands like Hatfield and the North or Volaré, then you've probably got a pretty good idea what this music sounds like. Very jazzy, mostly instrumental, with lots of tasty keyboards (which are usually given a slightly distorted, fuzzy tone) and twisting, turning, complex rhythms. The first track fades in, and the last track has a lengthy fade out, almost leaving the impression that the music in between is all a beautiful dream. This is music you could put on when you invite your parents over to dinner, and not have to worry about offending them (well, except maybe for the noisy, distorted opening of "Elephants"). National Health represents a "tasteful" side of prog, as evidenced by the band photo in the center of the Complete booklet, which shows them sitting around having a pint while wearing jackets and ties. But "tasteful" doesn't necessarily equal boring, although this album doesn't really "rock out" in the traditional sense. If you want something that appeals to the intellect as well as the emotions, National Health is just the thing. Speaking of intellect, the wry history of the band (written by Dave Stewart) in the liner notes is a classic example of understated and hilarious British humor. review by Bob Eichler — undated —

j o e

Spawned from the brainpower of two virtuoso keyboardists, Dave Stewart (Hatfield and the North) and Alan Gowen (Gilgamesh), National Health fought a valiant but doomed battle in the mid- to late- half of the 70s to help keep progressive music afloat against the swelling tide of indifference from the major labels of Britain, their sights set tightly on punk. By the time the band actually got around to recording their debut, the lineup had already gone through several changes, until finally comprised of three of the former members of Hatfield and the North (Stewart, Pip Pyle, and Phil Miller) plus bassist Neil Murray. I'm a sucker on general principle for albums with prominent dual keys, and in that area this album does not disappoint. Though Gowen had officially left the band by this time, he's thankfully very much an assured presence throughout the album as a 'guest' performer. The debut album opens up with Stewart's epic "Tenemos Roads." Built around a cheerful main theme that sounds like something the Lone Ranger might ride along to, this is one of the classics from the Canterbury camp. It goes through various moods, most characteristically galloping along but also at certain moments laying down to pasture. Amanda Parsons' luminous vocals, somewhere over the helium rainbow, lend a distinctive icing to the cake. The rest of the album doesn't quite reach the same peaks for me, and I've always had trouble digesting when the band's music shifts to a dainty, counterpoint quality. Nonetheless, it remains enjoyable 70s British jazz-rock throughout, often in fact reminiscent of contemporaries Brand X (e.g., give a listen to the second half of "Borogoves (Part Two)"). Also, listen to Gowen and Stewart fire off wild solos on Moog and organ, respectively, on "Brujo." An obvious, major representation of the Canterbury style and a no-brainer for those who have already discovered and love Hatfield and the North. review by Joe McGlinchey — 5-24-04 —