Reunions & Archival Releases
In March 1990, the group reformed to record a TV show with Phil Miller, Richard Sinclair and Pip Pyle joined by Sophia Domancich (keyboards, Pyle's then-girlfriend and band mate in Equip'Out).
In January 2005, the band reformed again with Alex Maguire (from Pip Pyle's Bash!) on keyboards and toured between 2005 and 2006 (notable appearances included a short Japanese tour in late 2005, and the BajaProg and NEARfest festivals in North America). On a small number of European dates in June 2005, Mark Fletcher (from Miller's In Cahoots band) reinforced the band while Pyle was recuperating from a back operation and only played on part of each gig. Pyle died in August 2006 after travelling back from a Hatfield show in Groningen. Following Pyle's death, Hatfield played two previously booked gigs with Mark Fletcher on drums, including the Canterbury Festival in October 2006.
In 2005/2006, the band released two archival collections, Hatwise Choice and Hattitude, featuring the classic Miller/Pyle/Sinclair/Stewart line-up, distributed by the UK label Burning Shed. Both releases contained a mixture of BBC radio sessions and live recordings, along with the odd demo. Which are still available on CD and support the musicians and family of Pip Pyle.
In 2007, Cuneiform Records re-released two albums by Steve Miller and Lol Coxhill with bonus material including 20 minutes of material by the proto-Hatfield and the North line-up of Delivery playing "God Song", "Bossa Nochance/Big Jobs", and "Betty" (a variation on some of the Sinclair bass riffs that also produced Hatfield's "Rifferama").
Jonathan Coe's novel The Rotters' Club takes its title from the band's second album. The novel also mentions them several times.
Read more about this topic: Hatfield And The North
Famous quotes containing the words reunions and/or releases:
“Some of the smartest women in the country said that they’re too embarrassed to attend their reunions at Harvard Business School if they have dropped out of the work force, left the fast track by choosing part-time work, or decided to follow anything other than the standard male career path.”
—Deborah J. Swiss (20th century)
“We need a type of theatre which not only releases the feelings, insights and impulses possible within the particular historical field of human relations in which the action takes place, but employs and encourages those thoughts and feelings which help transform the field itself.”
—Bertolt Brecht (1898–1956)