- WHAT'S RATTLIN' ?
:: The Weekly
Digest for Canterbury Music
Monday, August 10th,
WHAT'S BEEN RATTLIN' ALL THIS TIME? - OUR 100TH ISSUE !!!
Well, I'm not really a believer in symbolic figures. I
don't fear the year 2000 for instance, and I guess for me #100
would have been just another issue number for WHAT'S RATTLIN'. But
I wanted to take that opportunity to celebrate... not my own
endeavour, but the fact that current and past Canterbury music has
given us enough food for written thoughts 100 times, which I think
is really the most important thing.
This has of course been made possible through the global
emergence of the Internet. American subscribers have probably
known the Internet for a long time. For us Europeans it's a more
recent discovery. I got my e-mail account in the Autumn of 1995,
and was soon fascinated with the possibilities offered by the
Internet to promote lesser known musical genres. The idea of a
website emerged in February 1996, and What's Rattlin'? was the
next logical step, three months later. It's proved to be a valid
concept - there are currently over 550 subscribers to this digest,
and I receive new subscriptions literally every day.
Whether or not services like Calyx and What's Rattlin'?,
and fellow websites like Musart, AgeProjex, the GAS website,
StrongComet etc. can actually make up for the increasing
difficulty of making and promoting music out of the mainstream in
our current society is another issue. As I see it, it's becoming
more and more difficult. Gigs and tours tend to become more
sporadic. Perhaps our old faves are just getting older; it also
seems to me, in France at least, that it's become harder to set up
tours for lesser-known bands. Of course, and I don't want to
minimize the efforts of people like Keith Bailey (Space Agency) or
Shawn Ahearn (Pangea Music), Gong still plays decent-sized tours;
let's rejoice for that. But that's the top of the iceberg. Smaller
Canterbury bands like In Cahoots, who deserve even more support as
they dare to play new music, struggle to make their sporadic gigs
at least a little profitable (although the British Council's help
on some of their recent tours gives reasons to hope).
There's still a lot of work to do, and that's a plan for
the next 100 issues!
Meanwhile, an update on the Canterbury scene's activities.
It seems logical to first mention the activities of Mark
Hewins, who has proven to be the musician counterpart to "What's
Rattlin'?" (not to mention his own pioneering website efforts) -
his Musart studios have become the meeting point for everyone on
the Canterbury scene. You name them, they've all been there at
some point to do a bit of recording. Phil Miller, Elton Dean, Hugh
Hopper, Pip Pyle, Andy Ward, Richard Sinclair, Mike Howlett, Lol
Coxhill etc. And most of them will be appearing on Mark's current
project with Lady June, "Rebela".
Obviously, another "unifying" project that comes to mind
is Pip Pyle's "soon to be released" first solo album, "7 Year
Itch". Once again the line-up reads like a who's-who of Canterbury
music. Having heard both projects (in an unfinished form in the
first case), I'd say they're equally exciting in that they combine
in a fresh manner the individual talents we've appreciated in
other contexts. It's this sort of project that keep the Canterbury
Of course, Robert Wyatt's latest album "Shleep" deserves a
mention. Although he's grown apart from the rest of the Canterbury
scene in recent years (with the exception of the superb "Songs"
album by John Greaves), Robert remains dear to our Canterbury
scene followers' hearts. "Shleep" proves that Robert is still keen
on pursuing new musical directions and starting new
As for the others, they're still there - Caravan is still
gigging regularly with it's classic mid-70s line-up, and Pye
Hastings is working on a solo album; Gong also toured France this
Spring, and although we've yet to hear a new album, Daevid Allen
is still pursuing various exciting solo projects; Kevin Ayers was
recently over in California for two well-received gigs; Elton Dean
has formed a new large jazz ensemble that has been very favourably
reviewed by the critics, and still plays in various more or less
informal line-ups; Hugh Hopper gigs with his own Franglodutch band
from time to time, as well as Mashu; Phil Miller is busy writing
new stuff for both In Cahoots and his duo with Fred Baker; Dave
Stewart is still putting the finishing touches to the new
Stewart-Gaskin, which could bear the title "7 Year Itch" if Pip
Pyle hadn't used the name... and if it's finally released before
the 7 becomes an 8; John Greaves started 1998 with two solo gigs
in Paris and is also a member of Peter Blegvad's trio (alongside
Chris Cutler) and Michael Mantler's "The School Of Understanding"
The only real M.I.A. these days is Richard Sinclair. There
are probably several reasons to Richard's current absence from the
scene. His four years of hard work probably didn't prove as
rewarding as he'd hoped and his absence from both Mirage and the
current line-up of Caravan, as well as the premature end of the
RSVP group, seem to indicate that he's had problems finding the
right context to express his talents. A couple of years away from
music will hopefully bring us back this immensely talented artist
with an even greater creativity, following the recent example of
Pierre Moerlen. Meanwhile, his vocal contribution to Pip Pyle's
album is as fascinating as ever.
So yes, with a few exceptions they're all still there. If
I'm proud of anything about Calyx and WR, it's probably that some
of the old fans of the Canterbury scene have been made aware of
all these people's current projects. That it's great to listen
again and again to the old treasured masterpieces from the 70s,
but that the talents that created them are still around, intact,
and deserving support. Then there's of course the "encyclopaedic"
vocation of Calyx, which is probably the main interest for
newcomers. My hope is that it will "enlighten" more and more new
converts and lead them to appreciate the whole variety of this
scene - the great variety of styles, both past and present.
Keep on rattlin' ! (whatever that means...)
Subject: Gongzilla live
Date: Mon, 20 Jul 1998 21:37:08 EDT
Hi all from the USA.
I recently saw the Gongzilla show in a small club in
Asbury Park, New Jersey called the Saint. They were really awesome
and played some fine music, but I do not get where all the people
were, there were only 10 people there. I don't like crowds but
this was ridiculous.
This club keeps trying to put this type of music on, a
little over a year ago Brand X played here and Bon Lozaga has
played there a few times b4, but if peole don't come out to the
shows they will disapear. Bon, Hansford Rowe, Benoit Moerlen &
Vic Stevens put on a great show but they will have to get some
support if we are to keep seeing this type of music,so to all yoe
east coast Americans,get off your asses...
Thanks for letting me vent...
The Jersey Gypsy
From: David Cross
Subject: Robert Wyatt annotated discography
Date: Tue, 21 Jul 1998 14:28:21 -0400
Cheers on #100 Aymeric! Here's another chunk of that Wyatt
* * * * * * * * *
"I think everybody should have a go at their Cecil Taylor
A Robert Wyatt Annotated Discography
By Robert Wyatt
THE END OF AN EAR
I was very grateful to CBS, I have to say, for the
opportunity to go into the studio and make an album. I don't think
they realized that I was going to make a totally improvised album
like that, and I didn't get invited back.
One of the things that mucks up some of the earlier
memories is that we didn't get any money from those early records
at all. None of them. Our managers were total crooks and since
they are dead I can name them, which is - Mike Jeffries and Chas
Chandler. I mean they just took everything. The record companies
were no help - they seemed to close rank with managers rather than
see musicians got their dues. In my real life I don't remember
much peace and love in the music industry in the peace and love
era at all. Having said that - I was very happy to have the chance
to record, there again, to play piano and do my little Cecil
Taylor impersonations. I think everybody should have a go at their
Cecil Taylor impersonations.
In my mind, if I ever a transition from adolescence to
adulthood it was by that record. People think it must have been a
very tragic period of my life, with breaking my back and all, but
1974 was the happiest moment of my life. The record came out, it
came out how I wanted it to come out, it was made with friends.
Alfie married me on the day it came out, which was a
disgracefully self sacrificial thing of her to do, but made me
RUTH IS STRANGER THAN RICHARD
On that record I wanted to give the musician I was working
with more space to do their own thing. I set up "Team Spirit" as a
tenor solo for George Kahn. And there again - I got Fred Frith to
play some of his own tunes - still some of the favorite things
I've ever recorded actually. "Muddy Mouse/Muddy Mouth". In fact
before doing those tunes he played this note, I can't remember
what it was - some sort of high D or even an E flat. And I said to
Fred "I can't sing that" and Fred says "Yes, you can. Your range
is from a low F to a high F#." He listened to my records and knew
exactly what notes I'd hit on various records and told me I could
do it, so I had to do it.
NOTHING CAN STOP US
This wasn't intended as an LP. Virgin was very angry with
me when I disengaged myself from them and they threatened us not
to make an LP or there would be legal trouble. While Geoff Travis
at Rough Trade was trying to sort that out and placate Richard
Branson, they allowed us to make a few singles, which is what I
did. And it allowed me to sing some songs by people like Violetta
Parra and so on... that meant a lot to me. But I did them, more or
less, as a musical journalism really. I didn't feel these ideas
had to last forever. It was Geoff Travis' idea to put them
together onto an LP.
ANIMALS FILM SOUNDTRACK
Julie Christy had been invited to do the narration on that
by Victor Shoenfield, who made the film. They had asked the
Talking Heads to do the music. They used one song of the Talking
Heads for the opening credit tracks and it cost them 500 pounds.
Well, since the budget for the whole film was just a few thousand
pounds they couldn't afford them for the whole score. Julie said
"I've got a friend who'll do it for really cheap." And it's true -
one thing I'm really proud of is I work cheap. Geoff Travis at
Rough trade once said "You may not be the most successful, or the
best musician we've ever had here at Rough Trade, but you're
certainly the cheapest." And indeed, I did the rest of the film
score for 100 pounds. They wanted it released to help publicize
the film and that's what I did.
I think making music for films is very good because you
have to break out of the normal song cycle structure. The
structure is given to you by the film. There is a structure but
it's quite different and that makes you do things quite
differently. I know Miles Davis had the same breakthrough when he
did music for a French film Lift To The Scaffold. I really
appreciate how useful that would have been for him when I was
doing the Animals Film.
That was done when I was very isolated from other
musicians, although I felt very at home spiritually with the
musicians of that era, perhaps even more than with the musicians
of my generation. The post punk people in England who were dealing
in extraordinary surrealist combinations of punk and reggae and
using old ska rhythms. There was a lot of great political music,
like Jerry Dammers and indeed, Paul Weller, around that time but
musically it was very different from me because it was very guitar
based and I come from quite a different line of thought musically.
So I found myself, more or less, on my own and working as a kind
of miniaturist there - just trying to get distilled, pure song on
it. And as political as the songs are, the main exercise was
really, an aesthetic one. To try and to get essential song. Just
to see how you could pare it down to that point. I'm also
interested in artists in other fields in that way. Whether it's
Samuel Beckett in writing, or Mondrien in painting it's a very
interesting exercise - to try and pair things down like that.
Dondestan was after we left London and came to live up
north of England, quite near the coast. We had spent some time in
the eighties in Spain. England was a difficult place to be, so we
took any chance we could to go away. Alfie had written quite a lot
of poems in Spain. I think there's something about sitting in a
Spanish cafe in an out of season holiday resort with a glass of
brandy in front of you which brings out a little poetry in Alfie's
soul. Especially with the flamenco posters on the wall. So that
provided the basis for Dondestan. One of the possible titles for
the LP was based on a Cuban film called Memories Of Under
Development, that was nearly the title of the first track anyway,
and a lot of it has to do with that sense of underdevelopment and
dispersal. Not in the third world, but right among us.
I had a rough period in the mid-early 90's musically
speaking and there were some problems here at home as well. I
mean, I don't like people to go on about their problems because
it's boring... but I broke my legs here in 1993 or 1994, I think,
and had to spend some time in the hospital. I fell out of my
wheelchair... So those kind of things delayed my activity
somewhat. But, as much as I get the exact sound I want when I'm on
my own - I get lonely and music is a social act in the end. I was
very happy to be reminded of Phil's studio and I went because it's
near enough London where I can phone up people like Annie
Whitehead and Evan without feeling that they had to spend five
hours on a train to get to the studio. There again, I started
exactly the same as I did with Dondestan. Which is, taking half a
dozen pieces from Alfie's poetry notebooks and working on the
music from that and then carry on with that momentum and finish it
From: "Bailey, Jim"
Subject: Greetings, congratulations, and a request
Date: Tue, 21 Jul 98 19:58:00 EDT
First off, the greetings. Hello to Aymeric and all the
rest of you lot :).
I just realized that this is my first post here (good
thing it wasn't the Last Post, or I might think I was dead!) of
many more, I hope.
Secondly, the congratulations on a good job so far. One
thing I've enjoyed about this list is how it doesn't seem to be
affected by spurious characters in the text as I've seen on other
lists. Makes it much easier to read. The content is also highly
interesting, albeit at times frustrating because of all the great
things happening over in Europe that we rarely get to see here in
Toronto. Having just witnessed the Elephant Talk (King Crimson)
list break through the 500 barrier, I would like to convey my
hopes of seeing this one do the same. Keep on Rattlin'!
Lastly, the request. It's something I've been meaning to
ask about before, but never managed to get to. Does anyone out
there have a current address for Mike "Wrong Movements" King? We
were good friends a number of years ago, but have since lost touch
- the last time I recall seeing him was when Kevin Ayers was in
town (<-- relevance) at least five years ago. As you can
imagine, in a city the size of Toronto (about 3 million, I think)
there are several Mike or M. Kings in the phone book. None of them
match the last address I had for him, and rather than bother
several others before (or even if) I find him, I thought someone
here could help, as I'd really like to get back in touch. We would
occasionally bump into one another at gigs by visiting Canterbury
folks or the like, but not too many have been by here recently
that I recall. Any help would be greatly appreciated.
[I then sent Jim MK's e-mail address - and he added:]
I've been meaning to get in touch with him ever since
"Wrong Movements" came out, but one thing and another have
conspired to delay it. He had a release party here when the book
came out, but unfortunately I had to work that evening, so
couldn't make it. After seeing it in a local record shop I decided
to suggest it to someone for an upcoming gift-giving occasion
(can't remember if it was for my birthday, Christmas, or
whatever). By the time they went to buy it there were no more
copies. I have also had no luck in my search since. Now perhaps I
can get one "from the horse's mouth" as it were; not only that,
but get back in touch with an old friend.
Mike has been a great booster of the Canterbury scene here
in Toronto, and has been instrumental in bringing some of the
artists here such as the Kevin Ayers show I mentioned, and Dagmar
Krause. He also had a programme on a local college radio station
for a while on which Canterbury and associated musics had a
starring role. (I myself now have a show on the same station which
occasionally gets "Canterburized" - such as a couple of "In
Cahoots" tracks a few weeks back... hmmm, about time for some
Anyway, keep up the good work with WR, and thanks again
for the address.
All the best,
From: Julian Christou <email@example.com>
Subject: WR: Art/Prog Blowout, September at the Knitting
Date: Wed, 22 Jul 1998 09:02:34 -0700
Aymeric and all
Attached is an announcement which came from another
mailing list. I think the US/Can fans of Canterbury music will
find this very interesting. Of course I'll be missing it 'cos I'll
be in Germany, Spain & Italy in September - bummer!
BTW anyone know of any good shows not to miss in London
the week of Aug22?
------- Start of forwarded message -------
From: firstname.lastname@example.org (Roy DeRousse)
Subject: Art/Prog Blowout, September at the Knitting
Date: Sun, 19 Jul 1998 21:21:57 -0500
This was a recent article posted to the e-prog mailing
list. Looks like
some amazing things are in store for the Knitting Factory!
From: "patrick hayden"
September 5-8 at the Knitting Factory:
Congress of the Progressive Rock Titans!!!!!
Beginning Saturday, September 5th through Tuesday the 8th,
New York's Knitting Factory plays host to a summit of the rock
avant-garde's past, present and future. Pillars of experimental
rock's European wing will gather at the Knit for several
exclusive, soon-to-be historic collaborative performances.
The festivities commence Saturday with an incendiary
performance from Brainville, teaming the legendary Daevid Allen
with his fellow Soft Machine alum Hugh Hopper, as well as his
former colleague in Gong, drummer Pip Pyle, alongside hometown
eccentric and Shimmy-Disc czar Kramer, best known for his work
Those left standing from Saturday's blowout will gather
Sunday evening for two intimate shows from the recently resurgent
troubadour, Roy Harper. The highly revered songwriter of 1970's
Britain (and featured guest vocalist for Pink Floyd) will surely
sell out, so devotees nation-wide best act quickly.
Monday's very special festivities reunite old cohorts from
the immortal Henry Cow. Avant-Rock stalwarts Peter Blegvad, Chris
Cutler and John Greaves will appear in two distinct combos,
Unearthed and Breadvan - the former, joined by famed H. Cow
guitarist Fred Frith, highlights Blegvad's spoken-word
explorations, the latter showcases the instrumental
capabilities of these innovative giants (fans should also expect a
visit from Mr. Frith during this performance, as well!) Truly, the
results should be the stuff of lore.
Tuesday the 8th, the aformentioned visionaries will be
joined by several very special guests of the experimental bent,
all to celebrate the groundbreaking work of Robert Wyatt. A
fitting end to four days of unique forays into out-sound mania,
this event promises to serve as a showcase for all the pioneers of
rock's Outer Reaches, a State-of-the-Laboratory address those in
the know cannot afford to miss.
for more information, contact:
The Knitting Factory
74 Leonard St.
New York, NY 10013
------- End of forwarded message -------
From: email@example.com (Roger Bunn)
Subject: The opinons of Hiseman
Date: Thu, 23 Jul 1998 00:06:11 +0100
Jon Hiseman :
Jazz drummer of some vast expereince and considerable
And studio exec.
I have known Jon for over thirty years. He is a man of
rugged opinons. Because the work we do from here takes on board
democratic opinions when versed in an approximation of correct
(for the situation we at the creative end of the music biz find
ourselves in the main) language I found that one conversation with
a few weeks ago has stuck in my single brain cell. That
was his opinion about the demise of the Big bands. In that Basie
and Ellington were first of all dance bands. And when they moved
away from the dance halls into the concert halls everything was
down hill from then on. Anyone share that opinion? Or if you
have opinions of your own, we would like to hear them, so would a
few UK parliamentarians.
Music Industry Human Rights Association
UK Homepage http://www.cerbernet.co.uk/mihra
Mihra was founded during UN50 to advance and protect
creators rights in a cultural market monopolised by the six member
recording / publishing Cartel. Mihra's roots are in music
and anti-racism and it has called for a sports boycott of both
Indonesia and Burma for the Sydney 2000 Olympic Games.
Date: Wed, 22 Jul 1998 23:13:18 EDT
Way back in '97 one of the WR's said there was to be a new
release by Dave and
Barbara in January '98. Has this happened because I
haven't heard anything
about it? Dave's website doesn't alude to it either.
If you know, please advise.
Thanks so much and as always you're doing an incredible
[Dave and Barbara are reportedly still at work on it - 7
years in the making already, could have been titled "7 Year Itch"
like Pip's... hoping it won't take much longer than that ! - AL]
From: "David Voci" <firstname.lastname@example.org>
Subject: Wyatt and Other Things
Date: 23 Jul 1998 12:29:42 U
Hulloder Rattlebury Fans,
Sometimes I feel that I am lost in a haze when I read
about all the musical projects going on that I am unaware of. The
English music scene has always seemed to be boiling over with
collaborations and special pairings of musicians, people from this
group who are playing with people from that group etc, etc... Such
a wealth of great players whose sole purpose in life seems to be
music and just playing with equally inclined people. That there is
such a smorgasboard of projects going on at any given time is, to
say the least, awe inspiring. I'm talking about all the different
groupings of musicians I read about in WR and things like this
just make me want to go to college to learn how to win lottery so
that I may be able to purchase every one of the subsequent CD's
these projects yield.
Thanks for WR98...great reading. And 99 too. Who is in
Colosseum now, anyway? Dick Heckstall Smith still around?
[That's the "Live'71" line-up - Heckstall-Smith, Hiseman,
Greenslade, Clempson, Farlowe, Clarke - AL]
Liked R Wyatt Interview...At first I felt supreme pity for
this guy and his terrible accident but upon further thinking this
guy is one lucky bloke not to have died as a result of this
fall... This man is certainly a unique musician and I'd like to
offer my opinion of Matching Mole CD's and The End of an Ear...
great stuff and until recently unheard... As I was telling an
aquaintance I met through these pages, it's kinda cool that when
you are a devout music fan, to find and listen to bands you always
knew about but never got around to listening to in earlier times
is like having money in the bank... you know all the while that
there is potential here but the time in which to listen and absorb
new material isn't always there because of everything else you
have. So to tap into such a vast resource of yet unheard music is
a veritable gift.
I am very pleased with the two MMole's musical content,
especially the quasi electronic/experimental direction on the
first one, great mellotron passages... I like Wyatt's vocals but
can't wait until the vox stop and the instrumental jamming picks
up... the tightness of the players is excellent and I would love
to see 20 or 30 minute versions of any of these songs. I found the
Mole's stateside on CBS England and was astounded that they only
cost me $11.99. Surprised/Pleased to see that Robert Fripp
produces on Little Red Record... Another point I wanted to make is
that even though from another area in England, Crimson deserve a
place in the annals of this musical style. Of course, I've read
that very few of the so called Canterbury players are even from
End of an Ear is great too and I had no idea of the
animosity (as Wyatt indicates in new liner notes)that Soft Machine
had in him doing a side project... Even though Wyatt might have
been a little inclined to sing his drumming was perfect for the
Softs sound and as witnessed on the Moles and Ear recording, Wyatt
knows perfectly well how to just play drums and refrain from
singing. It's too bad those differences existed but I don't think
that ever stopped Wyatt from growing as a musician/writer. I've
heard End of an Ear out of print? Also surprised to see that Wyatt
doesn't seem to have written any material for Little Red Record.
Do any of you WR readers know who might have the 'Softs
BBC II' CD still in stock as I've been told it is out of print...
Would really love to have this as it represents Jenkins period
[Apparently, the Windsong label on which a lot of BBC
recordings were released in the early 90s doesn't exist anymore.
The task has been taken over by Hux Records, who are in the
process of repackaging and rereleasing some of them, for instance
Gentle Giant's. Which means that (a) the CD you mention is indeed
out of print and (b) maybe it'll be reissued in the future...
maybe not - AL]
The National Health-Complete CD is great and jam packed
with great sounds... another one of those bands (along with
Hatfield) that has been long overlooked but better late than
[Possibly the greatest CDs & CD package ever released,
don't you think? Too bad they couldn't do something similar with
Hatfield... - AL]
Just bought Isotope's 1st and 2nd(Illusion) on 1 CD and a
song from Illusion was omitted. Sliding Dogs/Lion Sandwich was the
omission and I was just wandering how long this song was and if I
am missing anything here? It is so lame that when companies do
this to fit material alot of times they omit your favourite song
in the process.(Rory Gallagher/Irish Tour/U.S. release comes to
Placed first order with Wayside music and very happy with
their catalogue. Only complaint is no phone, only fax or email but
what the heck, as long as product arrives who's to gripe as this
stuff is generally not available at all shops.
Curious about a reissue of Soft Machine-Third I heard
about on BGO Records wherein the recording was cleaned up and
remastered in a much clearer/crisper way. Is this true? After
hearing this and listening to Third again I did realise that the
sound quality on the CBS original release does seem a bit muddy
but regardless, this is still a quintessential, timeless recording
that really has staying power.
This writing is so long that I'd be surprised if it didn't
carry it's own WR#.
Again, it's been a pleasure sharing my thoughts with all
of you and of course reading all of yours.
From: "Niko Paech"
Subject: New address
Date: Fri, 24 Jul 1998 12:59:10 +100
Please note my new e-mail address: email@example.com.
My old address will be cancelled in a few days. Please send the WR
digests to the new address. Thank you. WR is my favourite mailing
list! It's the best thing for Prog/Canterbury/.. fans. Thanks for
the good work.
Due to health problems, a new job, and a removal... I
didn't respond to the Patrick Forgas CD which I receive from you.
I have to apologize for that because I really love this CD.
I must admit, when I subscribed to the CD project, it was a
kind of loyalty... But then, when I heart it, I was blown away. I
only can recommend it to everyone who's interested in Canterbury
Bye, Niko Paech
From: Benoit Dufresne
Subject: WHAT'S RATTLIN' 100
Date: Fri, 24 Jul 1998 15:41:55 -0400
Can't resist to be on WR100! First, I go trought
congratulations for maintaning the digest. This 100th anniversary
issue is one more proof of gold mine of interest for our Fidel few
of the Cant. style (no so "few" in fact but I like the
While I'm far from being an ignorant about Cant., I can
hardly feed new informations for the digest indeed. Interesting
facts certainly go the other way, i.e, WR to me. For example, we
don't have any cant. gig around here in Quebec. Well, may be two
exceptions, Ayers/Allen for one and Gong for the second. Both
where at the the Club Soda, which is, of course, a rather
alternative place for music here in Montreal. I missed Gong since
I was not around when it happened. But I was all there for
Ayers/Allen. Just to compare, Gentle Giant came in Montreal a
dozen of time (may be this is why it is not a Canterbury group,
So, I was delighted by Ayers/Allen gig. It begun slowly.
the first set with Kevin, who was clearly tired (because of the
airplane, I guess) was alone with is acoustic guitar. It took a
couple of song to tune his voice which became ok, thanks to a
beer. He played many of his classics including some super salesman
and (do I have to name it?) Lady Rachel. Kevin wished that Daevid
came along with him for the set.
And so felt the assistance. Daevid appeared only for the
last song,very shy, turning back to peoples.
We waited a pretty long time for the second set, enough to
think that, well, that's all folks. And Daevid stepped on the
stage in great shape man! I mean he played almost 2 hours
non-stop. Betweens beautifuls songs of his classical repertoire
(dont ask me titles) he was the perfect troubadour, speaking
poetically of many subjects as far from each other as banana and
sex. He even ate one on stage (the former, I mean).
BTW, I made a recording of the show, just for fun, as I do
sometimes. The recording is not bad like the one I also made of
Carla Bley with Steve Swallow. Of course, we could make exchanges
if ever some of you is interested.
And this is my last subject, CD. It is definitly not easy
to find some CD around here. I say this for Wrattlers who shops in
Montreal and Quebec. Apart from Le Free Son and Dutchy's (barely)
I dont find any Canterbury discography at all. Fortunately, some
houses in others countries are on the web and accept postals
commands, when it works. For example, I ordered Flotsam Jetsam
from Little Indian and never had even a reply! Meanwhile, this is
one of some CDs I always try to get. Feel welcome for suggestions.
Lasts words. If any band of the confrerie needs help to
book a place in Montreal (say, while touring on the east coast), I
will do my best to make arrangements and contacts.
A happy North Soft Gong and a Caravan of Health to all
Wrattlers for this 100!
From: firstname.lastname@example.org (MELLOW RECORDS - MAURO MORONI
RECORDS PRODUCTIONS LTD)
Subject : CANTERBURY TRIBUTE
Date: Sat, 25 Jul 1998 16:49:16 +0200
We are planning a tribute to the bands included in the
If you are a musician interested or a journalist who wish
to write the liner
notes for the booklet please contact us.
International Business Affairs Dept.
From: Marcelo Spindola Bacha <email@example.com>
Subject: WR#100: Congratulations!
Date: Sat, 25 Jul 1998 22:49:21 -0300 (EST)
Congratulations for WR #100! This is just to let everyone
know that the archive at http://magma.uerj.br/calyx is still on,
with all the back issues.
Long life to WR!
[Thanks Marcelo, and thanks also to my friends at Musart
who maintain an archive of past issues too, with the bonus of a
search engine which enables to look for specific topics of
discussion - AL]
Subject: Robert Wyatt Interview:
Date: Sun, 26 Jul 1998 14:06:15 EDT
I want to thank you for the wonderful interview with
Robert Wyatt. That was definitely a thorough cross-cut view of the
heart of the Canturbury style. Sort of like a cross-cut saw
to me,anyway. It really showed me where the school of Canturbury
music comes from & why.
I can understand the feelings behind Robert and that style
of music. Oddly enough, I am a very similar being & share
those experiences that he & others like him share, as I am
also an artist & musician. I think that the Canturbury stlye
is a headset. It doesn't really have to be a locale... He
mentioned his wife as an inspiration. That was beautiful. He was
talking of dreams, especially that place called twilight sleep
where you can find answers and inspiration. A bird is a great
analogy for the human spirit. We can soar to the heights or be
captured in a cage of ignorance or dispair. Sometimes that dispair
is the vehicle for breaking free. It is that longing inside that
sometimes fuels the fire for creativity. That seems to be the time
when an artist or musician is freed from the prison of
pain...Strange deal, isn't it?
Chagall is one of my favourite artists. I love his
dreamlike paintings.They have almost a child-like quality,
inhibited and free as a child sees life...I can say that, no
matter where how or where we are bound, we must unfold our wings
& fly. That is our ultimate right & destiny for everyone
anywhere, to find that child in each of us. Life is too short.
I was physically in Canturbury this spring & couldn't
find much there, as one mentioned in this newsletter a while back.
It seems to be more of a movement or a school of thought that
reflected this style of music. It's odd but, over down here where
I'm from on the Delta there's a new breed of music on the horizon
that's very similar to this style. It's strange to hear such
similarities from 2 diverse backgrounds! I think it's in the midst
of the myst, wheither it's in Canturbury or in the Delta myst.
It's floating everywhere.
As I was saying, I really did enjoy that interview with
Robert. I feel like I know you, Robert. Let's let the music flow
as if we're swimming underwater.
Lost in the Delta Myst..............Ramona
From: Rick Mealey <firstname.lastname@example.org>
Subject: The Hatfields FAQ page
Date: Mon, 27 Jul 1998 17:02:05 -0400
Having a brief revisit to the Calyx website (I already
subscribe to What's Rattlin') and putting happy thoughts back into
my head-- what a treasure trove of information on all my favorite
bands... thank you for keeping this up. I've often wanted to
contribute something-- and now I think I can.
The FAQ page poses the question, Why were particular
titles chosen for albums and compositions? I can help you with one
of these at least:
Your Majesty Is Like a Cream Donut comes from a Monty
Python skit from the same time period.... At a party, Oscar Wilde,
James McNeil Whistler, and George Bernard Shaw are engaging in a
battle of wits (jazz musicians would call it a sort of cutting
contest) when England's reigning monarch joins them. In a display
of one-upsmanship, they compare him to, variously, a cream donut,
a stream of bat's piss, and a dose of the clap. I don't remember
which Python album this is from, or which episode of the series...
but it is available on CD, and I can get that info for you if you
Hope this was a help. Looking forward to the next WR, and
From: David R Ashcraft <email@example.com>
Subject: Concert Update
Date: Wed, 29 Jul 1998 23:06:26 -0400
A small group of fans in Chicago has been putting on some
concerts over the past few years including Present, Boud Deun, and
Richard Sinclair. Two more shows have been booked and we really
need fan support inorder to keep this fledgling series alive and
well. We are taking all of the financial risk in putting on the
shows since the club owners are unwilling to do so. All profits go
to pay the bands.
Now for the good news!
The Peter Blegvad Trio (including John Greaves and Chris
Cutler) are playing on Thursday, September 17th at 9pm. Location
is Martyr's which is at 3855 N. Lincoln Ave. in Chicago.
Boud Deun will be playing Martyr's on Wednesday October
7th at 8:30 (with support band, "Numbers"). They'll be featuring
tracks from their sizzling new disc on Cuneiform.
Martyr's is a great club with an excellent sound system,
good sitelines, and some tasty microbrews. We will have the
opportunity to do future shows there IF these concerts are a
success and the club makes a buck. This is the chance that
Chicago-area progressive fans have to get some shows going in
their area. Future gig possibilities include Djam Karet,
Anekdoten, Korai Orom, Ozric Tentacles, PFM, and Magma (underline
possibilities for all of these however).
Please pass the word on to everyone about these shows and
we hope to see
From: Peter Rijnsburger <firstname.lastname@example.org>
Subject: Top 10 favorite Canterbury albums
Date: Sun, 9 Aug 1998 15:49:19 -0400
Hello Aymeric and fellow rattlers,
First of all I would like to say how nice it is to see
there's still a lot of interest in everything the Canterbury scene
has done and is still doing. Luckily a lot of the musicians are
still active, and so am I, collecting recent and not so recent
stuff on CD. This year for instance I bought John Greaves' "Songs"
at a bargain price (4 pounds) and "Guitar solos" by Fred Frith at
midprice. Both well worth hearing. But even better than those is
the new Slapp Happy album "Ca va". It took some time to obtain a
copy (I bought mine last month), but after a couple of spins it
sounds as if it's a real winner. Marvellous stuff. The same is
true of Robert Wyatt's "Shleep" but that's already been mentioned
enough in "What's rattlin?".
Apart from the music on disc and cd, I also have witnessed
some ourstanding performances by artists featured in WR, among
them Fred Frith, Dagmar Krause (with Phil Minton and Steve
Beresford plus The Maarten Altena
Ensemble), Lindsay Cooper and David Thomas together, Kevin
Ayers and a solo concert by Richard Sinclair (the last two in the
90s). And only in 1996 I saw an excellent one-off performance by
Dave Stewart and Barbara Gaskin during the Unknown Public Holiday
at London‚s South Bank Centre. Especially their version of
'Shaking all over'‚ was splendid.
There are of course many more memories that come to mind
(during a summer holiday in the late seventies I spent one night
in Canterbury in a caravan because the youth hostel was full; the
caravan was parked in the garden of an old-pensioners home; I'm
not making this up!), but my fascination with Canterbury music is
perhaps best illustrated by presenting my top 10 of alltime
favorite albums from Canterbury related groups and artists. It's
the least I can do in return for all the interviews and other
information that is contained in every issue of "What's rattlin?".
And I suppose I'm not the only one busy making top 10 lists and
enjoy reading about them.
So, here they are.
1 Robert Wyatt - Rock bottom
2 Hatfield And The North - The Rotters‚ club
3 Slapp Happy - Acnalbasac noom
4 Caravan - In the land of grey and pink
5 A. More - Flying doesn‚t help
6 Quiet Sun - Mainstream
7 Soft Machine - Soft Machine (first)
8 Caravan - Caravan (first)
9 Fred Frith - Gravity
10 National Health - Of queues and cures
It's mostly seventies stuff, but those are the 'golden
years'‚ for me, because I started listening to Canterbury bands
and other 'progressive' music like Genesis, Gentle Giant and King
Crimson in the early seventies. Those first albums I bought are
really the ones that I tend to remember longer than the recent
music coming out of Canterbury (or anywhere else). One reason of
course is that I'm listening to much more music nowadays than I
was 25 years ago. Perhaps I've heard The Rotters‚ club more than
40 times, which is easy enough to do when you buy only 20 records
a year! Since the 1980s I buy a lot more albums a year, so a
maximum of 15 spins is the most if I'm lucky (and if the music is
any good). Not forgetting the longer duration time of CDs, which
doesn't help to increase the spinning average.
Finally, two words from Richard Sinclair which can be
applied to top 10 lists: "please do not take it seriously"
(Share it, The Rotters‚ club) and to writing about Canterbury
music: "keep on caring" (Caravan of dreams).
All the best,
[Thanks for your contribution to WR#100, Peter. Just one
minor correction: the lyrics to "Share It" are actually by Pip
Pyle. Perhaps you have the CD edition of "The Rotters Club" where
the credit is omitted, as is Dave Stewart's for writing "Mumps"...
* * * * * * * * * * * * * * * * * * * * * * * * * * * * *
* * * * * * * *
* * * * * * * * * * * * * * * * * * * * * * * * * * * * *
* * * * * * * *
[for more info : check out the 'Concerts' page of CALYX -
see URL below]
Oct 30 - London, Astoria
DIDIER MALHERBE/PIERRE BENSUSAN
Aug [11-14] - Lorient (F), Festival Inter-Celtique
Sep [22-30] - Irish tour
Oct [2-10] - UK tour
AVANT-GARDE ROCK FESTIVAL
The Knitting Factory, New York City
Sep 05 - Brainville (Allen/Hopper/Kramer/Pyle)
Sep 06 - Roy Harper
Sep 07 - Peter Blegvad Trio/Frith-Cutler Duo
Sep 08 - a combination of the former + others
PETER BLEGVAD TRIO
Sep 17 - Chicago, Martyr's [3855 N. Lincoln Ave], 9pm
FORGAS BAND PHENOMENA
Sep 03 - Paris (France), Petit Journal Montparnasse [tel:
Sep 11 - Paris (France), Studio des Islettes [tel:
Sep 12 - Paris (France), Studio des Islettes [tel:
Sep 23 - Paris (France), Peniche 'La Balle Au Bond' [tel:
Oct 09 - Paris (France), Peniche 'Le 6/8' [tel:
Oct 23 - Paris (France), Theatre Dunois (tbc) [opening for
Nov 13 - Paris (France), Le Glaz'Art [tel: 140.364.849]
* * * * * * * * * * * * * * * * * * * * * * * * * * * * *
* * * * * * * *
END OF ISSUE 100
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