What They Said
Over the years, we have found numerous reviews of Garden Shed and other England projects, some more obscure than others. We have chosen a small selection below, remarkable for their consistency, despite the nearly thirty year time span since Garden Shed was first released in 1977.
 Archetypal English prog. Quirky and dramatic music, ingenious word play abounding and superb thematic development. The musical development and playing is of the highest order here, with superb themes, development, hooks and textures.
In many ways, this is as good as prog could get in the 70s: articulate without being obscure, thunderously intense, quietly eccentric, warm and evocative by turns, superbly played and sung, with many truly unique twists and turns, and always pervaded by a quintessential Englishness.
Dave Etheridge, Music Mart, September 2005
This is one of those hidden treasures of the early progressive rock movement that is such a joy to hear and I'm proud to own such a gem.
The musicianship here is top-notch throughout Garden Shed with songs that are very well written and executed with a sense of familiarity for the listener. The vocals are superb and make the listening experience even greater.
Ron Fuchs, Prog-Naut on September 6th, 2005
Garden Shed is a timeless masterpiece, essential in every prog collection. Not because it's a Yes or Genesis clone, but because they blended these bands' influences with their own vision, thus creating something that sounds straight-out phenomenal. It's not just the sheer virtuosity of the band, though impossible to ignore. Perhaps it's their sense of humour that is immediately recognized by the listener. The wit and the madness are perfectly translated into the thoughtful yet playful arrangements and vocal harmonies.
Prog-nose, Choice of the month, August 2005
This recording is brimming with mellotron textures, keyboards and organ to make you drool and variant time signatures which remind one very much of Gentle Giant. England have written some real classic prog songs here and after a few listens you will be hooked on their brilliance.
James Unger, 2004
Their debut LP Garden Shed is one of the finest, 24-carat progrock albums I've ever heard. The album Garden Shed has strong echoes from early Genesis and Yes. The often Mellotron drenched compositions sound melodic, warm and inventive with many captivating changes of climate and thrilling breaks. The guitarwork is sensitive, the keyboardplay is varied and the vocals are strong, no doubt that these are good musicians.
Erik Neuteboom, Official Prog Archives collaborator, 2004
These guys not only managed to write music similar to Yes and early Genesis back in 1977, but the quality of that music reaches the level of those two, once mighty, bands. There isn't a weak track on here, and the two epics are worth the price of the CD alone
Steve Hegede, 2004
Their sound is a veritable microcosm of the classic symphonic sound of the 70s. This foursome utilises vintage keys, Rickenbaker bass and superb vocal harmonising to create a disc that borrows freely from many bands yet never sounds derrivative.
Yves Dube, Progressive Ears, 2003
This is phenomenal English symphonic prog, truly inspired and immaculately performed, with beautifully textured arrangements. Due to the relative obscurity of this album, it's not surprising that this gem has been dubbed a true "lost classic" by many.
Greg Northrup, 2001
Thoughtful, intelligent and well-played, the quasi-classically structured songs are full of intrecate instrumental patterns and shifting moods - a change indeed from the aural intimidation of the current wave of new rock bands.
The Mirror, 1977
England's music is dominated by the keyboards of founder member Bob Webb and consequently, the material on Garden Shed invites favourable comparison with bands from a similar musical direction such as Genesis, Caravan and Supertramp.
It is an intrecate weave of Elizabethan melogy, punchy bass lines and sweeping, contrapuntal textures - Beach Boys with a touch of Mike Oldfield
Caroline Coon reviewing Paraffinalea in Melody Maker, 12 March 1977
England really arrested my attention with their first single, Paraffinalea. Maybe it's the classical undertones and unusual lyric. England is destined for great things.
Anne Nightingale, writing in the Daily Express, 22 February 1977
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