- WHAT'S RATTLIN'?
:: The Weekly (or so)
Digest for Canterbury Music Addicts ::
Saturday, September 30th,
A lot of stuff in this issue, so the review of Hugh
Hopper's Dutch tour will have to wait until the next WR... along
with an English translation of an article that appeared in the
Dutch press. Meanwhile, I hope you enjoy the following - #166
within the next few days...
From: Dave Cross
Subject: Another interview?
Date: Mon, 18 Sep 2000 10:57:25 -0400
"I WAS IMMEDIATELY TRANSPORTED INTO A VISION OF MY OWN
-- Dave Cross interviews Daevid Allen
* * * * *
Is Daevid Allen relevant in the year 2000?
As early avatar of cosmic hippie psychedelic culture
Daevid Allen bent the young minds of the 1967 London with
underground darlings Soft Machine. Combining beatnik flourish,
ethnic exposures, tape loops and, ahem, other more organic
substances - you would have imagined that the first recorded works
of Soft Machine would be much more that what they actually wound
up being. Maybe it was the production of Giorgio Gromelsky
(another nut Allen would crack when punk rock fried an egg on his
head, this with the one and only New York Gong). Maybe it was
because they were actually demos for The Animals.
The Softs' second recording, a single "Love Makes Sweet
Music" c/w "Feelin' Reelin' Squealin'" released on Polydor on
February 17, 1967 shot through the brains of bomb trippers
everywhere (particularly in The Netherlands where it was released
with a full color sleeve). Rumors abound of the influence of the
ex-Sonny Bono protégé Kim Fowley's involvement. Ah - this was a
top notch piece of plastic, and if you had one today, well, you'd
be a very happy person.
Because of their success at the Edinburgh Fringe Festival
the band was invited to perform the music (largely improvised) for
the great Picasso's (first?) stab at theatre - Desire Caught By
The Tail. The 1967 Softs were routinely playing a 90-minute set of
material that was mostly lost (though seemingly partially recycled
later) when Daevid was detained at the English border and the
Softs returned to London. British authorities promptly shipped
Allen back to France and it was there that Allen crafted the
flotation rotation space station known as GONG.
Will Daevid Allen be relevant in the year 3000?
Q: You are seemingly a great collector of interesting
musicians and personalities. Do you find them or do they find you?
A: I am a great believer in serendipity. I devote myself
lovingly and wholeheartedly to my music, and usually music in the
form of original musicians repays my enthusiasms in kind. I am not
particularly interested in perpetuating the more obvious musical
cliches, and so am not drawn to more standardized musical
approaches. Gong reflects this approach and for this reason, has
never tried to be deliberately commercially accessible. It
survives because there are enough fresh thinkers and eccentrics in
today's world population to support us, and judging by the
increasing Gong adherents in their mid-twenties, the percentage is
rising in Y2K.
Q: New hope for older artists - you are 62 years young,
you are playing harder than ever. Do you have any plans to retire
or shift musical gears?
A: To quote Carla Bley: "What do you think I am, a rock
star?". People like myself don't even retire when we die. Unless
we do. In my experience, as long as you look after your health
when you are young, with a bit of luck there just ain't that much
difference between being 32 and 62... except maybe I am sometimes
a bit more relaxed than I was. My best decade so far has been my
Q: You did recently record an album of jazz covers...
A: The jazz standards album ("Eat Me Baby, I'm A
Jellybean") happened because I wanted to repay the debt of my
teenage years in the fifties, spent listening to revolutionary
be-bop on radio in Australia. In 1998, I was in L.A. and happened
upon a hot little piano trio with Ndugu Chancler on drums, Larry
Steen on bass and an exceptional Russian pianist, Eugene Maslov,
playing in a local club. I sat in with them and the combination
was so startling that we booked a studio the next day and did all
the tracks in six hours! Didier Malherbe added his parts as did I
& twas done.
This CD came out in 1999 together with three other highly
contrasted releases. The second was my San Francisco
impro/psychedelic band, Daevid Allen's University Of Errors -
"Money Doesn't Make It", which in fact was made even more rapidly
than the jazz CD. I did an impro gig with a San Francisco band
called Mushroom and the next day we went into a studio in a squat
and recorded a long jam. I had a few hours before my plane left
for Australia, so I threw some vocals over the top and left
without even playing it back. Two weeks later bassist Michael
Clare mailed the mixes to me in Oz and I was overjoyed with it!...
This began an intriguing liaison with a remarkable guitarist named
Josh Pollack, who is actually much better known in San Francisco
as the playwright/director of his own plays. His playing slightly
reminds of Gang Of Four but in all other respects he is an
original. The cream on the cake is that we play extremely well
together as two guitarists... So now there is a second University
Of Errors CD out on limited edition of 500 - almost sold out, and
we have just completed a 10-date East Coest U tour, featuring a
new young drummer out of the "Stomp" show named Jason Mills. This
band is growing up fast.
The third release was a glissando guitar epic called "22
Meanings". Glissando guitar is a variant of slide guitar, but
creates a wide range of hallucinating string and choral sounds
based on the esoteric concept of "The Music Of The Spheres".
Composed and recorded with Gilli Smyth's ex, Harry Williamson, who
played an invention of his own, somewhat like an aeolian harp, but
called 'Angel guitar', it also features my son Orlando (drums),
playing one drop reggae together with some other outrageous
talents from Australia, such as percussionist Greg Sheehan.
The fourth release was an album produced by Kramer at the
Knitting Factory in NYC with Kramer and myself, and featuring Hugh
Hopper on bass and Pip Pyle on drums. The band is known as
Brainville, and the CD is titled "The Children's Crusade", on
Knitting Factory Records/Shimmy Disc. This band brought me back to
play with my old cohort Hugh after a mere 35 years, only to
discover that it could have been yesterday. Pip is my favourite
original jazz drummer in the world, though we are not exactly
speaking to each other at the moment - this will change! - and
Kramer is of course famous for being the most simultaneously
lovable and exasperating producer, composer and child genius in
So 1999 was a relatively fruitful year!
Q: Speaking of jazz - I have heard a rumour that Gong was
formed after proper application of an old Sun Ra LP. True or
A: Yep. I found a used copy of a Sun Ra record in a bin in
Melbourne in 1958 and was immediately transported into a vision of
my own future calling. I was too broke to buy the album but I
never forgot his name or what it meant to me. I didn't see him
play live till Peter Blegvad took me to watch a dawn-to-dusk
open-air full-moon gig on the Wharves in Manhattan in 1979.
Q: During your tenure with The Daevid Allen Trio there has
been mention of work with William S. Burroughs and Bryon Gysin.
Hugh Hopper says yes, Robert Wyatt doesn't seem to recall this.
Can you perhaps lend insight as to what actually happened?
A: Actually I was performing with Bill Burroughs and Brian
Gysin at the ICA in London round the time the DA Trio gig was
recorded, and in Paris at the American Centre in boulevard Raspail
during the period that Robert and Hugh visited me in Paris, but we
didn't all play together. I notice that Robert was not clear about
the Soft Machine involvement with the Picasso play in the South of
France either... The whole story appears in my book "Gong Dream
Part One: Soft Machine Years" (GAS Publications 1993), a book
which Robert was scandalized by... basically because he didn't
remember how intolerant he was of my guitar playing at that time.
We were initially hired to play in that sci-fi disco along the
coast from St.Tropez, but were soon banned by the authorities and
found other more interesting gigs. The first was a Brigitte Bardot
party, where we played "I did it again" for an hour and a quarter.
This bout of hypnotic Terry Riley-inspired minimalism was enough
to make us the toast of the new Parisian fashion season, a factor
which worked wonderfully in my favour later in the year in regard
to the formation of Gong. We Softs then transferred to opening up
the Picasso play "Desire Caught By The Tail", starring Andy
Warhol's Ultraviolet and Taylor Meade. This added enormously to
our standing amongst the Glitterati in Paris, and created a
situation where Soft Machine became temporarily the third most
celebrated English band after the Beatles and the Rolling
I was soon back in Paris after having been refused
re-entry into the UK as an illegal Alien Australian, and the
burgeoning publicity given to my refugee status meant I had the
pick of the best musicians in Paris with which to start Gong... By
now the remaining Softs were on course to tour with Hendrix and,
according to Robert, the sacrifice of all whimsy. Imagine - if I
had not missed that tour Gong might never have been, for what
would Gong be without whinsy? "Je ne regrette rien"...
Q: You haven't mentioned Gong in its latest incarnation
and the september 2000 US tour so let me add a bit on this....
A: Gong in 2000 has a radically new funky feel with
drummer Chris Taylor from Soul II Soul and Roachford, pairing
spectacularly with original bassist Mike Howlett. There is also a
new keyboard player: Gwyo De Pix, founding member of the first UK
all-synthesizer band, Zorch, and a new young tenor saxophonist and
flautist from London, Theo Travis (aka: Theodopholis Acidophilis).
Original hornyman Didier Malherbe (aka: Bloomdido Bad De Grasse)
and Theo play major European gigs together, but on the new Gong
album "Zero To Infinity" (released by Snapper Music / One-Eyed
Salmon label, March 2000) and on this tour, Theo is introducing
himself as sole representative of Gong's sax vocabulary...
First gig, Knitting Factory, LA, on September 7th,
followed by Great American Music Hall, San Francisco, on Sept 8th.
Then touring all areas thru to the East coast, and ending with
Knitting Factory, New York, on 30th, and Philly on October 1st,
Boston on the 2nd, and Montreal, Toronto and finally Ann Arbour on
Oct 7th. For full details, as always: http://www.planetgong.co.uk
Q: I ask many artists the following question and often get
lied to in response. I really don't much care about getting the
truth as much as I care about getting a good story... Have drugs
ever influenced you or your music?
A: Curiously I think I had better have a hit on a pipe of
Moroccan haschisch before I answer this: hmmmmm.... Answer: yes,
but here are three even more influential experiences:
1. Sunset after three day fast & medit.
2. Making love all Christmas Day 1984
3. Bodysurfing in Oz
Q: You seem to constantly be playing live shows around
Europe, and there have been American and Japanese tours too. How
many times have you been around the world? Ever play Poland or
A: Last year I started my season in April, playing Sydney
solo, San Francisco & LA with University Of Errors,
NYC/Baltimore with Kramer, three acoustic duo gigs in UK &
onwards to Tel Aviv with violinist Graham Clark, then with Gong
toured Holland and Germany; and onwards to US tour, including
Progfest in San Francisco, Mexico City plus Magma, and then to
Japan with prototype band, Oft So Machine - an impro band
featuring Hugh Hopper and Chris Cutler and I - as support act for
Goddess T, Gilli's trance co-op including drummer programma
Orlando & bassprogramma Tone, with Mark Hewins and I on
guitars, and Gilli doing voice-magick...
...And this only took me up to 4th July!
I want to go to Eastern Europe more - please Goddess!
Q: What is better - improvisation or composition?
A: I like impro, because via error it produces pure music
and brings out the best in us all... I like composition because I
am in control.
Q: You improvise live in the studio, which is uncommon
(because it's so expensive!)
A: Not true. U Of Err 2 CD was five days total impro, from
6pm to 2am; five days of overdubs - which doesn't have to be done
in an expensive studio; seven days of mixing and editing in
Q: What is better, studio or live?
A: As Professor of Pradox, I can only answer: "Both are
better than either: or!"... If studio it's because I have more
control. If live it's because I must have more faith.
Q: Can you tell me about what it is you picked up from
Terry Riley and when you picked it up?
A: Why it was... back in 1962... this man was my loop
guru... he cut me up Chet Baker licks & later played me
mescaline mix... I finally got twin Revox decks... at that time
this was better than sex... (tapeworks on CD: "Death Of Rock",
Q: Tools in the toolbar.
A: Wots he drinkin?
From: "Rob Ayling" <Rob@voiceprint.co.uk>
Date: Sun, 17 Sep 2000 17:17:53 -0400
We are currently reworking the Voiceprint web site to
include MPEG - movies etc. Currently we have some clips of Jakko
in the studio performing a previously unissued pieces, Arthur
Brown and Man from the Canterbury festival. Plus interviews with
Jakko and Claire Hammil.
Shortly there will be footage of Hugh and Brian Hopper
performing and interviews from them too. Plus a rare interview
with Carol Grimes and some really exclusive footage of Rick
Wakeman recording in the studio.
As our commitment to the web site grows.
My questions you guys out there is...
a} Do you a enjoy these little web movie-ettes?
b} Is it worth putting some MPEG - 3 audio tracks up there
for you to listen to?
c} What else should we be putting up there?
Thanks for your time and I look forward to hearing your
Rob - Voiceprint dude.
web site - http://www.voiceprint.co.uk
email - Rob@voiceprint.co.uk
From: Dan Sullivan <email@example.com>
Subject: Gong/Kevin Ayers/Zmrzlina Live in San Francisco,
Date: Sun, 17 Sep 2000 16:08:58 -0700
Here's a lengthy report on a rather amazing Saturday night
Francisco. Love and kisses from California!
* * * * *
It's Saturday night in San Francisco's seedy Tenderloin
district. Me and the Dutch Guy have arrived early for the
much-anticipated gig featuring the latest incarnation of Gong,
supported by Kevin Ayers and a mysterious local band seemingly in
need of a vowel or two. Lining up outside the Great American Music
Hall we meet the most interesting people. A homeless fellow
serenades us with classic soul tunes, then hits us up for some
money. Old fashioned winos stagger past. Yuppies with too much
dot-com disposable income head out of the million dollar
condominiums across the street for a night on the town. Three
children, none older than eight or nine, skip past us on some
unknown mission. A street dealer offers skunk bud ("two toke
weed!"). A stripper getting off work at the neighboring X-rated
Mitchell Brothers Theatre hails a cab. A group of wild-eyed young
women wander in and out the door of the venue and through the
queue, all floppy hats, piercings and chemical energy. As the
doors close behind them we hear Kevin sound checking Here Comes
Behind us in line is a friendly American Gong freak, his
brand new wife (three days off the plane from India), and wife's
best friend, who has come along from India for emotional support.
Both women are seriously underdressed, as first time summer
visitors to San Francisco tend to be, wearing sari and sandals and
shivering in the foggy breeze. Both are in major culture shock.
This is their first rock show. They are skeptical, and
wide-eyed at the street scene unfolding around us, but good sports
about the whole thing. We discuss how long it will be before the
big cities of India have X-rated theaters. We try to describe the
music they are about to hear. We wonder about this Zmrzlina thing.
Who are they? Will they be supporting Kevin, as another
local band did last time he was in town? Will Daevid join
Kevin for Lady Rachel, as he did in Montreal back in '93?
Will they dust off the old 70s reggae arrangement of Clarence in
Wonderland? The anticipation builds.
The doors open again and we hear Gong sound checking
"Magdalene", then watch as two Japanese acid heads, one wrapped in
a blanket and the other with yellow wraparound shades, peer inside
while hopping about anxiously on the balls of their feet. A
20-something fellow dressed in zoot suit, porkpie hat and Flying
Teapot badge, joins the queue. I say hi and he smiles broadly, but
seems incapable of forming words to respond. No problem, the vibe
Half an hour later and we're all freezing. The doors
open yet again and a mysterious person emerges. He walks past the
rest of the queue, comes right up to us, peers straight into my
eyes, and says "It was a great show, you're really going to love
it" before disappearing into the night. The Dutch Guy and I
decide he must be a time traveller, an emissary from the future.
Things are getting strange.
Finally they let us inside. D.G. and I sit down. To our
right are our new friends from India. To our left is the table at
which the beautiful and charming Cecily (The Famous One) is
selling CDs, shirts and posters for Zmrzlina. She's on her own and
business is brisk, so I offer to help out. This turns out to be a
great thing. The Famous One introduces me to Mark, Heather, and
the other Zmrzliniacs. I learn that their name means ice cream in
Czech, their new EP is #1 on KUSF (excellent local college radio
station), and that tonight we will see a transitional line up and
hear some brand new tunes.
They take the stage and play a great mix of structured
songs and jams, and everyone is Very Pleasantly Surprised by the
sounds we hear. These folks have great chops, the rhythm section
is amazingly tight, and they really listen to one another. The two
bass players (one playing lightning fast riffs on a Rickenbacker,
chimey with overtones galore, the other holding down the bottom
with a Clevinger upright electric) sound particularly scrumptious.
Heather the drummer, all Maureen Tucker punk rock trixy pixie
energy, sings her first ever lead vocal and leaps off the stage to
dance wildly through the crowd. The core group is augmented by a
second bass player (soon to replace the current one), as well as
various guests on cello, strings, vocals and horns. Later Mark
tells me they played:
Papa Buzz / Supermarket Radio / Sutro Tower / School Girls
/ Kentucky Soul Desert (the Can tune) / Genealogy
Cecily and me sell a ton of gear. I meet Mark's parents
and some other band members. These are some seriously nice people.
Check them out online at (http://www.zmrzlina.com/). They are
currently touring the Pacific Northwest so catch 'em if you can.
OK, now it's just about time for Kevin to go on, but I am
still selling CDs and Cecily is busily signing posters and fitting
people with t-shirts. Everyone is pumped up by Zmrzlina's set and
the anticipation of music still to come. It's getting seriously
social now. Excellent tunes are spinning over the sound system
(from Gabriel-era Genesis to Rachid Taha and System Seven).
Strangers are hugging strangers. I check in with our new friends
from India. They are getting into the spirit of cultural exchange
by gleefully tucking into huge plates of classic American junk
food: nachos smothered in mystery cheese, and french fries
smothered in ketchup. One of the Zmrzliniacs, who has spent some
time in India, goes over to say hello and compare culture shock
notes. Numbers are exchanged and reassurances offered. All will be
I meet a couple who came from Tokyo for the show, and an
English fellow who just happened to be in town on business and
can't believe his good fortune. I finally get to thank Gong
Appreciation Society majordomo Jonny Greene for his work over the
years, and score a copy of Glo's "Even As We" which Jonny says he
considers a secret gem of a recording. I have to agree.
In the midst of all this merriment, Kevin takes the stage,
supported by some mystery musicians (local? or up from Los
Angeles, where they'd played last night?) on bass, drums and lead
guitar. He seems mellow and reasonably comfortable with the scene,
smiling and happy, and not too drunk to cope. The vocals are too
low in the mix at first but the lights are suitably dim, and
slowly it all comes together. Kevin plays a too-short but
still quite lovely set:
Here Comes Johnny / Super Salesman / Mr.Cool / When Your
Parents Go To Sleep / Champagne and Valium / May I / Lady Rachel /
Stranger In Blue Suede Shoes / Shouting In A Bucket Blues /
encore: Thank You Very Much
The Zmrzliniacs have not heard Kevin before and are amazed
by his voice. The band sounds great... they play beautifully
and allow Kevin's vocals - and the songs themselves - to shine. I
tell Cecily that he's one of my two favorite lyricists of all time
(the other being Lou Reed). She listens to When Your Parents
Go To Sleep and says she can relate. During Lady Rachel Kevin
brings things way down, and soon has the whole crowd in the palm
of his hand, entranced. He pulls the same trick during the encore,
but after one final sleepy refrain is, sadly, gone into the night.
All cheer wildly. No collaboration with Daevid, but that's
OK. The night is young and my musical cup already floweth
More socializing and flogging of gear ensues. Finally the
tape loop craziness of Gongwash Indelible pierces the room and the
electric cheese rock begins. Towards the end of the night Daevid
will say that Bert Camembert has been in the house, and it's true:
the energy is high, bordering on manic at times, throughout what
turns out to be a long, long show. The set list looks like this:
Zero To Infinity / Radio Gnome Invisible / Yoni On Mars /
Bodilingus / Zero The Hero and the Witch's Spell - I Am Your Pussy
/ Magdalene / Mad Monk / You Can't Kill Me // Flute Salad - Oily
Way - Outer Temple - Inner Temple - She - IAO Chant - Master
Builder / encore: Tropical Fish - jam - Selene - Diana - Selene
It turned out our emissary from the future had been dead
right. This band is tight as can be, and the show is fantastic.
They play for well over two hours, and there are so many
highlights. All the tunes from the new CD are done beautifully.
Daevid is in rare vocal form on 'Bodilingus' and 'Magdalene', and
the range and intensity of his guitar playing is something to see.
Gilli seems to be having the time of her life singing 'Yoni on
Mars', and Theo Travis plays shimmering waves of flutey delight on
'Magdalene'. Chris Taylor and Gwyo Zepix are locked in tight with
Mike Howlett, whose bass playing never ceases to amaze.
One of the wild eyed young women we'd seen outside before
the show spends much of the evening dancing in an ecstatic trance,
on stage and in the crowd. I run into the zoot suit guy right up
front, and he gives me the high sign. The band play a very heavy
'You Can't Kill Me' at light speed, and the concluding couplet
("Your finger on the trigger and your body burning up / Camembert
Electrique!") lands like a bombshell, leaving us all gasping. Our
new Indian friends can't believe how loud and heavy it is, and one
has a headache. I go in search of earplugs for them, which a
friendly bartender is happy to provide. That and some aspirin do
the trick. Daevid berates the high tech San Francisco crowd for
apparently spending too much time in virtual reality, and not
enough in his reali-tea, when we fail to sing along lustily enough
to please him. We respond with a roar. At one point (memory
fails, but I believe it is on 'You Can't Kill Me') Daevid is
joined by one of the guitarists from University of Errors, and
much squealing and reeling ensues. The final jam of the set begins
with a fresh take on Flute Salad from Theo, and then the band drop
into full Trilogy mode for a good hour or so. It's quite different
from the last time they were in town with the so-called classic
lineup (and Steffi on lead guitar and synths). Daevid plays
everything -- leads, rhythm and glissando -- with fire and
conviction and the vibe is much more masculine than before. Things
come to a crashing climax with Master Builder. We are considerably
pleased and not a little bit amazed.
How do they top such a set? With a generous Tropical
Fish/Selene encore jam during which Mike Howlett, grinning
demonically from behind oversized yellow sunglasses, teases us
with hints of Isle of Everywhere and seems to take control of my
body. Gilli weaves her spell one last time, invoking the Goddess
through incantation. Daevid prances about in his polka-dotted
jumpsute. I can't stop dancing either.
Finally the night ends, and the Dutch Guy and I stagger
out into the early morning chill. We drive across the Bay Bridge
in a bit of a trance. I take him to his friend's place in
the deepest East Bay suburbs, then head back home to
Oakland. Sleep proves well-nigh impossible after such generous
evening of musical magick. I chill out to Glo, and eventually do
manage to slip off to the land of Nod, only to dream about the
Famous One. Life is grand. Wish you were here.
From: Roger Farbey <R.Farbey@bda-dentistry.org.uk>
Subject: Robert Wyatt Soupsongs concerts
Date: Mon, 18 Sep 2000 10:46:34 +0100
Here's the details of the London repeat gig of Soupsongs -
there are others in the UK but I don't have the details of
Wed 25 Oct 2000 7:45pm
Queen Elizabeth Hall, London
The Songs of Robert Wyatt
With Annie Whitehead, et al.
From: firstname.lastname@example.org (Mark Ellingham)
Subject: Peter Blegvad : Leviathan
Date: Mon, 18 Sep 2000 14:37:07 +0100
Peter Blegvad : Leviathan
Just to let everyone know that there will be a chance to
see Peter Blegvad's "Leviathan" cartoons at the Cheltenham
Literary Festival, from 13-22 October. The exhibition is at
Cheltenham Townhall, free admission, and there will be signed
prints of a number of the strips available. Peter is also
discussing Leviathan with the (very dry, very funny) stand-up
comic Arnold Brown at the festival on Saturday 21 October, 5-6pm
(£6/£5; booking 01242 227979).
I'm publisher of the book and have supplied quite a few WR
subscribers with signed copies. Everyone seems pretty happy with
it, as I'd hope given its high production values (and low profit
margins!). Price is £15 (including postage to UK). Copies are
still available at this price, or - unsigned - in bookshops at
£12.99. Apologies for this shameful advertising.
Oh - but there is some news - Peter is also releasing an
"acoustic retrospective" album, on Voiceprint, in November,
working title "Choices (Under Pressure)".
Mark Ellingham, Sort Of Books
[A personal comment - I have seen a copy of this book
recently, and I must say I have been extremely impressed. A very
beautiful work indeed. I'll probably buy a copy for myself! - AL]
From: "ANDREW GARIBALDI" <email@example.com>
Subject: london Concert
Date: Mon, 18 Sep 2000 22:49:37 +0100
Don't know if this is within the brief of WR but it'a a
one-off event for London On Oct 14th at which Dead earnest and
others will have a stand, so if yuo can include details in WR, it
always helps the underdogs.
MUSIC FOR THE 3RD MILLENIUM
The UK's only major electronic music event for the year
2000 takes place in London on Saturday October 14th.
MICHAEL ROTHER (Neu!) & DIETER MOEBIUS (Cluster)
from the UK;
WHITE NOISE (David Vorhaus) with guest THE ORB's Alex
(new album launch concert)
plus computer graphic show
plus special guest from France;
CYRILLE VERDEAUX's CLEARLIGHT
plus from Germany;
DJ STEVE BALTES (Ash Ra Tempel)
Location; The Union Chapel Project, Islington, London
Underground Station (100m); Highbury & Islington
Tickets £15.00 (fifteen UK pounds)
The Union Chapel is a spectacular Victorian Gothic church
converted for concerts, located next to an underground station
directly accessible from all stations and airports. As well as
live performances, the festival will have the usual wide variety
of CD's on sale.
Credit card orders (Visa/MasterCard) and further
Ordering by phone, fax and mail also available
Subject: Kenso and Supersister at Progfest
Date: Mon, 18 Sep 2000 23:50:50 EDT
Two bands in two days that often have the Canterbury
descriptor in reviews and articles, although not directly related.
And in Los Angeles? Progfest offered and delivered.
I have to admit to not knowing anything more about either
Kenso or Supersister than what I had read. I think that I
was in the majority in that regard, but it was nice to see hard
core fans of each band.
Kenso. For the uninitiated, they are from Japan and this
was their first ever show outside of Japan. They obviously gig
regularly as they had the confidence and precision of a working
band. And what a band they are! They captured the crowd,
earning - and I do mean earning - standing ovations after
practically every song. Fusion is the best and easiest label
for the band, with two sets of keys, guitar, bass and drums.
Guitarist Yoshihisa Shimizu is the leader and main composer. His
songs have an inherent lyricisim often lacking in riff heavy
fusion/instrumental bands. He brought typed out introductions in
english which he carefully read for each song, while ther audience
was still cheering and the rest of the band was smiling. The
closest Canterbury analogy would be Phil Miller as I was reminded
of his playing often. But the key to the band, at least to my
ears, was the bass player who held everything together with
precision, power and swing, leaving the drummer to dance on the
kit or do his best Billy Cobham. The keys were quite good but
clearly not the lead in this band. Their 90 minute set was too
short. I made the mistake of basking in the auditorium only to
find every Kenso CD sold by the time I got out to the lobby. That
is perhaps the best indication of how this band blew everyone
Supersister played the penultimate set of the festival the
following day and gave us two hours of fun. Before starting to
play, the keyboardist set the tone with a wry joke. They opened
with some rather straight forward jazzy flute songs with some nice
keys runs and 60s jazz flute solos. When I had decided that they
were probably an instrumental band, they broke out the vocals and
the character of the band came through. Very 60s style humour in
"Mexico" and the set highlight "Wow". Great keys that got wilder
as the set went on. The rhythm section held it all together. In
all a very fun set.
Have to mention the headliners - Banco Del Muto Soccorso.
They were amazing - great vocals, wonderful and powerful players
all. A band to see again and again.
Also a nice word for the organizers who put on a well
produced, comfortable show in a great hall. And their choice of
bands cannot be faulted.
From: "Doug Bartel" <firstname.lastname@example.org>
Subject: Ayers gig cancelled
Date: Fri, 29 Sep 2000 00:29:25 GMT
I just heard today from Brad Knox, a friend of Richard
Derrick who organized the Ayers tour in America, that the gig that
was slated for October at the Bottom of the Hill in San Francisco
has been cancelled. The upside is that a live CD is in the works.
Please let your readers know that they needn't fight the traffic
to get to this gig which is no longer going to happen. I was lucky
to catch the double bill of Ayers/Gong at the Great American Music
hall in San Francisco. Ayers They seemed to be blues musicians.
Perhaps I would have preferred something more for the avant garde
camp, but it was enjoyable nonetheless.
From: Mark Powell (Caravan reissue programme)
Date: Thu, 21 Sep 2000 12:32:37 EDT
I hope all is well with you.
I have a request for you to put on your site or on the
next digest of What's Rattlin'.
I would like to include the US single edit of "Memory Lain
Hugh / Headloss" as an extra track as part of the forthcoming
Caravan re-issue programme by Universal, but alas the master has
Can you put out an appeal for anyone who has a copy of the
US single of "The World Is Yours" b/w "Memory Lain Hugh" /
"Headloss" (edit) on London Records 20080 in excellent condition
and is willing to lend it to me to transfer onto DAT to contact
I would be grateful if you could pass any details on to
me. If I can locate this track I can truly say that all aspects of
Caravan's recording career from 1968 - 1975 have been covered!
Thanks once again
From: Gary Davis <email@example.com>
Subject: Canterbury and related releases
Date: Fri, 22 Sep 2000 23:05:59 -0400
The latest Artist Shop newsletter is out and you'll find
it in its entirety at
<http://www.artist-shop.com/news.htm>. Meanwhile, here
are some excerpts that may interest Canterbury fans.
Newly released from Cuneiform Records
Gilgamesh was founded by keyboardist/composer Alan Gowen
in 1973. Alan Gowen later went on to co-found National
Health with members of Gilgamesh and Hatfield and the North in
1975. He left National Health in 1977, and then rejoined in time
for a long series of gigs, including the band's US tour of 1979.
After National Health broke up for good in 1980, he recorded a few
sessions. Shortly after, Alan Gowen was diagnosed with leukemia
and he died in 1981. This is almost one hour of all previously
unreleased recordings by this legendary "Canterbury" band. The
musicians here later went on to play with notables such as Soft
Machine, National Health, Black Sabbath, Mike Oldfield &
others. This CD features a 16 page booklet jammed with rare photos
and interviews, telling the story of leader Alan Gowen's career,
from his birth until the demise of Gilgamesh. Interest in our
archival Canterbury projects is very high, as witnessed by the
great sales of our releases by Soft Machine, Delivery, etc. This
is the latest in the series.
New from Steve Adams Flying Cat Records
Pete Barden's Mirage/Live Germany 1996
This very obscure, but much in demand, CD is now being
made available to us through Steve Adams. This line-up of Mirage
includes Pete on keyboards: Steve on guitars, guitar synthe,
vocals; Desha Dunnahoe on bass, flute, percussion and vocals; and
Dave Cohen on drums and percussion. Here are highlights from their
apparance at the Star Club, Oberhausen, Germany in 1996. It was a
freezing cold night, but the band soon heated things up with a
spirited performance. They paid their respects to Camel (Pete
having been a long time an founding member). This selection
includes music from "The Snow Goose", "Rain Dances" and
"Moonmadness", albeit with a new twist. There are also some of the
best songs from Pete's solo CD's: "Seen One Earth", "Speed of
Light" and "Water Colors".
Coming in October from Chris Cutler's ReR/Recommended
Art Bears/Winter Songs; The World As It Is Today
A reprinting of a catalog title that has been unavilable
for the past 3 years. The Art Bears are FRED FRITH, CHRIS CUTLER
and DAGMAR KRAUSE, who first worked together when SLAPP HAPPY
merged with HENRY COW in the mid-70's. This CD release, brings
together their 2nd & 3rd lps, dating from 1978 and 1980, and
presents short, sharp, bleak, disturbing songs which burrow deep
into the soul. Fred Frith's music, Chris Cutler's texts and
percussion and Dagmar Krause's wistful vocals blend a strict
economy of means with a powerful emotional impact."The influence
of artists like Frith, Cutler and Krause, and the albums they made
as Art Bears, is simply incalculable" - C.M.J.
Jon Rose/The Hyperstring Project
"For his latest ReR CD, Jon Rose has discarded his
identity as humorist, joker & evil genuis in favor of a single
minded attack on the violin. The Hyperstring Project uses software
developed in collaboration with 'Steim' in Amsterdam, and his
violin is now able to fire off independent contrapuntal lines "in
his words 'rogue counterpoint'" drawing on countless samples from
a sonic database. Backwards, forwards and inside-out strings
sounds compete with harpsichords, voices, and indescribable
electronic resonances, enabling Rose to accompany himself,
generating a complex and intense musical argument.
Newly reissued from Clearlight Music
Previously available only as an import, but now reissued
by Clearlight Music, this album stands as true fusion music,
straddling between progressive rock, classical, modal jazz and
Northern Indian raga styles. This album is a gathering between
fifteen musicians, French, American and Indian forming a
brotherhood and tribe. This album represents the first Clearlight
album produced independently. Freed from the conditions being made
by the mercantile record companies, Cyrille invited all his
musician friends to celebrate this freedom. Particularly
noteworthy is the involvement of jazz violinist Didier Lockwood
who, demonstrates once again, his genius for improvisation. Gong
saxophonist "Bloomdido" Didier Malherbe and Steve Hillage
guitarist Christian Boule contribute their unique musical voices.
The interplay between the musicians here borders on telepathic,
sparks of light flying. Conceptually, Clearlight Visions
represents a reimagining of the possibilities of music and life.
The cover featuring a tantric goddess hovering above the crystal
city is an advanced view of humanity's possibilities to recreate
its existence. The import version of this CD had rearranged
all the tracks from the original album scattering bonus tracks
throughout. This new Clearlight Music reissue returns the
tracks to their order on the original LP and placing the six bonus
tracks at the end, plus one more bonus track, a remix of Songes de
Coming soon from One Way
Kit Watkins/wet, dark and low
Kit Watkins/Holographic Tapestries
Four newly remastered Classic Kit Watkins albums! A
founding member of the ground breaking progressive rock group
Happy The Man, Kit has been at the forefront of keyboard oriented
music for three decades. Besides using keyboards to mimic acoustic
instruments, he created electronic sounds full of breath and life,
showing the grace of imperfection and reflecting the fragility of
humanity, all expressed in music that spans categories and moods
equally. These four CD's can also be found on our Kit Watkins page
New releases from Voiceprint and associated labels
Keith Tippett with Mujician and the Georgian Ensemble/The
For over twenty years Keith Tippett has been at the
forefront of contemporary European jazz and new music. Keith has
been a solo pianist, composer, bandleader, band member and musical
educator. Mujician is Keith Tippett's most successful improvising
group, joined for this project by Julie Tippetts, formerly known
as Julie Driscoll. This recording took place at St. Georges,
Brandon Hill, Bristol on June 1st 1991, as part of The Bath
International Music Festival. The Georgian Ensemble are eleven
musicians, who feature, trumpets, saxophones, guitars and vocals.
Featured here are selected pieces which Keith had written over the
previous 15 years. They are compositions that would give the
ensemble enough structure to feel secure in, but enough freedom to
fly away from if the spirit desired.
Hugh Hopper, Frances Knight, Vince Clarke, Jan
This is a brand new studio album recorded in late 1998
featuring Canterbury legend Hugh Hopper on bass guitar. The album
also features the distinguished Canterbury firm of Frances Knight
on keyboard and accordian, Vince Clark on drums with Jan Ponsford
on vocals. The music all went straight onto tape, played live in
the studio and was totally improvised during two one-hour
sessions. Hugh will be playing gigs to support the release
including The Canterbury Festival.
Future releases from Voiceprint and associated labels
Various Artists/Soupsongs Live: The Music Of Robert Wyatt
From his early days in Soft Machine and work with the
likes of Brian Eno, Mike Oldfield, Kevin Ayers and Scritti
Politti, to remarkable interpretations of Elvis Costello's
'Shipbuilding', Peter Gabriel's 'Biko' and The Monkees' 'I'm A
Believer,' Robert Wyatt has become a legendary, lyrical figure in
British music. Wyatt has not appeared on stage for over twenty
years, but he and musical director Annie Whitehead have organised
an exceptional group of musicians who have played with him over
his long career to celebrate his work. She and Robert selected the
music, which Annie then shaped and arranged for the band, many of
whom have contributed to Robert's records. The Soupsongs project
was commissioned in 1999 by the London Jazz Festival and
Nottinghamshire Live & Direct and had two performances, both
received to great acclaim by critics and with warmth and affection
by audiences. This live recording from Nottingham, features work
from Robert's solo albums, ranging from 'Rock Bottom' and 'Ruth Is
Stranger Than Richard' to his most recent album 'Shleep'.
Participants include Annie Whitehead - musical director, trombone;
Julie Tippetts - vocals; Ian Maidman - vocals, guitar, ukelele,
accordion; Harry Beckett - trumpet; Larry Stabbins - saxes; Didier
Malherbe - saxes and flute; Phil Manzanera - guitar; Janette Mason
- keyboards; Steve Lamb - bass; Liam Genockey - drums.
Hugh Hopper & Lisa S. Klossner/Cryptids
Legendary Canterbury musician Hugh Hopper (Soft Machine)
and magical singer Lisa S. Klossner combine forces once again for
their second album. 'Cryptids' features even more extreme musical
voyages: Maserati Mountain climbs through the dream valley
panoramics of Lisa's works and vocals. These are underpinned by
Hugh's fuzz bass, guitar and keyboards. Supporting musicians
drummer Pip Pyle (Gong, Hatfield And The North), Elton Dean (Soft
Machine) and extreme stereo guitar stylist Gary Smith.
Peter Blegvad & John Greaves/Unearthed
Peter Blegvad is a cartoonist, surrealist and musician, a
maverick storyteller and song philosopher with a vivid
imagination. He is an original member of the legendary avant
garde, cult favourites Slapp Happy. John Greaves was the original
bass player for radical 70's collective Henry Cow. This spoken
word examination of the human condition, with musical assistance
from Greaves first surfaced as a limited pressing in 1995. This
rarity has now been remastered, with new artwork by Blegvad and is
now available as a commercial release for the first time.
Dagmar Krause, Harold Schellinx, Ronald Heiloo/Commuters
Commuters has long been a mysterious and unavailable
collectors item amongst the cult of worldwide Slapp Happy fans.
Ronald Heiloo and Harold Schellinx were Dutch musicians skirting
the fringes of the avant-garde in Amsterdam in the late seventies
and early eighties. They recorded this one-off collaboration with
Dagmar Krause in 1982. It was issued on a private limited edition
vinyl pressing and then deleted. It is a collection of ten, short
and highly concentrated songs, in which Ronald's piano accompanies
Dagmar's unique singing. Dense, sparse, built from single notes
and chords, but always allowing enough space for Dagmar's
beautiful and touching vocal performance.
Ex Wise Heads/No Grey Matter
The Ex Wise Heads are Geoff Leigh of Henry Cow (sax,
flute, vocals, keyboards, kalimba), Vincent Salzfaas (bookaraboo,
bells, shakers, talking drum) and Colin Edwin of Porcupine Tree
(fretless bass, guimbri, double bass, sas). Together, they create
a refreshing exotic brew of pure undiluted ingredients. From
ethnicity to post - modernism, their sound is by turns lyrical,
spacious, funky, angular and melodic, earthed by subtly
atmospheric grooves. They have recently played the summer
festivals at Womad, Bracknell and at Brighton alongside a full
Gamelan Orchestra. Their next album will be heavily based on
Indonesian Gamelan music.
Tim Blake/Tide Of The Century
Innovative keyboard player, Tim Blake has been a key
member of both Gong and Hawkwind. He has played on some of their
most popular albums, including Flying Teapot, You, Live '79, and
Levitation. Tim's solo projects include the pioneering albums
Crystal Machine, (VP211CD) and New Jerusalem. Tim Blake headlined
Glastonbury in the late 70's, surrounded by banks of synthesizers
and a stunning light show. This had a profound influence on Jean
Michel Jarre, who developed these ideas onto a world stage. Tide
Of The Century is a brand new album with stunning production and
brilliant artwork which will find great appeal with both the
Hawkwind and Gong fanbase.
The Other Road
phone: 877-856-1158, 330-929-2056
INDEPENDENT PROGRESSIVE MUSIC!!!
Artist Shop Radio
Check out the latest
Artist Shop newsletter at
Subject: Steve Adams Website & Online Store
Date: Sat, 30 Sep 2000 12:15:06 -0700
Hello to All,
Steve Adams & everyone at Flying Cat Records are
pleased to announce that Steve is back from a successful tour of
Europe, and is busy writing songs for his upcoming CD. Steve would
like to thank everyone who helped with the planning and
preparation of the tour, and of course all the people who attended
the performances! If you were unable to attend any of the shows,
the band will be performing in the US in the very near future. The
areas focused on will be Los Angeles and the San Francisco Bay
Area. Steve is a former resident of the S.F. Bay Area, and hopes
to see many familiar faces in the crowd there! Don't miss your
chance to see Steve & his band play this powerful set of live
music when they're at a venue near you! All performance dates will
be posted on Steve's website at: http://www.steveadams.net, so
please check in periodically for tour updates.
Also, Steve's website has been completely re-built,
with sound clips from his CD's, works in progress, and some video
clips of the recent tour. Soon to follow will be a gallery of tour
photos & a few more video clips as well. For those interested
in merchandise, now attached to Steve's site is an online CD store
with a completely secure server. All orders are handled safely,
promptly, and efficiently. When ordering, please be sure to let us
know if you would like Steve to sign any CD's for you!
Thank you again for your support, and interest in the
music. If you have any questions for Steve or anyone in the band,
please email to: firstname.lastname@example.org. Hope to see you soon!
All the best,
Steve Adams & The Staff at Flying Cat Records
* * * * * * * * * * * * * * * * * * * * * * * * * * * * *
* * * * * * * *
* * * * * * * * * * * * * * * * * * * * * * * * * * * * *
* * * * * * * *
[for more info
: check out the 'Concerts' page of CALYX]
Oct 11 - LONDON, Shepherd's Bush Empire / Oct 12 -
WOLVERHAMPTON, Wulfrun Hall / Oct 13 - MANCHESTER, University (The
Main Debating Hall) / Oct 14 - GLASGOW, Renfrew Ferry / Oct 15 -
CAMBRIDGE, Junction / Nov 17 - Chiddingfold Club / Nov 25 - PARIS
(France), Le Bataclan
Line-up: Pye Hastings, Geoff Richardson, David Sinclair,
Coughlan, Doug Boyle, Jim Leverton, Simon Bentall
Nov 12 - LOS ANGELES (CA) / Nov 13 - SAN FRANCISCO (CA),
Great American Music Hall
Jan 12 - PARIS (France), Sons d'Hiver [solos evening] /
Jan 13 - PARIS (France), Sons d'Hiver [Traffic Continues w.
Oct 01 - PHILADELPHIA (PA), Trocadero Theater / Oct 02 -
BOSTON (MA), House Of Blues / Oct 07 - ANN ARBOR (MI), The Firefly
Oct 17 - VERVIERS (Belgium), Spirit of 66 / Oct 18 -
MODENA (Italy), Vox / Oct 19 - ROME (Italy), Palacisalfa / Oct 20
- TREVISO (Italy), New Age / Oct 21 - RIMINI (Italy), Velvet / Oct
22 - FLORENCE (Italy), Tenax / Oct 24 - VIENNA (Austria), Szene /
Oct 26 - LINZ (Austria), Posthof / Oct 27 - WINTERTHUR
(Switzerland) [nr Zurich], Gaswerk / Oct 28-Nov 03 - FRANCE
(details tba) / Nov 04 - ATHENS (Greece), Radon Club / Nov 05 -
SALONIKA (Greece), Mylos
Nov 20 - LONDON, Hackney Empire / Nov 22 - SHREWSBURY,
Music Hall / Nov 23 - WHITLEY BAY, Dome / Nov 24 - ABERDEEN, Lemon
Tree / Nov 25 - GLASGOW, Renfrew Ferry / Nov 26 - EDINBURGH,
Liquid Rooms / Nov 27 - BIRMINGHAM, The Foundry / Nov 28 -
SHEFFIELD, Boardwalk / Nov 29 - CAMBRIDGE, Junction / Nov 30 -
NORTHAMPTON, Roadmenders / Dec 01 - ALDERSHOT, West End Centre
Line-up: Daevid Allen, Gilli Smyth, Mike Howlett, Theo
Zeprix, Chris Taylor + Didier Malherbe [on selected dates]
Dec 12 - PITTSBURGH (PA) / Dec 13 - BUFFALO (NY) / Dec 14
- CLEVELAND (OH) / Dec 15 - CINCINATTI (OH) / Dec 18 - DETROIT
Line-up: Bon Lozaga, Hansford Rowe, Benoit Moerlen &
==> DIDIER MALHERBE TRIO
Oct 05-15 - NANCY (France), Festival Jazz Pulsations
Featuring Didier's new trio with Patrice Meyer (guitar)
& Philippe Foch (percussion)
More info: http://www.multimania.com/malherbedidier/
==> PIERRE MOERLEN'S GONG
The dates initially planned for October/November have been
I have been told by Pierre that he has 11 new compositions
ready, but wasn't pleased with the debut performances of his new
band last June and is now looking for other musicians (with the
possible exception of the bass player), with plans to record an
album before playing live again.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * *
* * * * * * * *
AND OTHER GOOD
* * * * * * * * * * * * * * * * * * * * * * * * * * * * *
* * * * * * * *
==> BILL BRUFORD'S EARTHWORKS
Oct 05 - POOLE, Arts Centre / Oct 08 - HARROW, Arts Centre
/ Oct 10 - BIRMINGHAM, Midlands Art Centre / Oct 11 - NEWCASTLE,
The Dome, Whitley Bay / Oct 12 - SHEFFIELD, Ecclesall
Non-Political Club / Oct 13 - STOCKTON, Arc Theatre / Oct 15 -
STIRLING, Cowan Theatre / Oct 16 - ABERDEEN, Lemon Tree / Oct 17 -
EDINBURGH, Queen Charlotte Rooms / Oct 18 - GLASGOW, Renfrew Ferry
/ Oct 19 - ARNOLD [nr Nottingham], Leisure Centre/Bonington
Theatre / Oct 20 - WAKEFIELD, Sports Club / Oct 21 - COLCHESTER,
Arts Centre / Oct 23 - BRIGHTON University, Gardner Centre / Oct
24 - SOUTHAMPTON University, Turner Sims Auditorium / Oct 25 -
DARTINGTON (Devon), Arts Centre / Oct 29 - MANCHESTER, Royal
Northern College of Music / Dec 09 - St.ALBANS, Maltings Arts
Oct 02 - DUDLEY, JB's / Oct 03 - LEICESTER, Charlotte /
Oct 04 - CAMBRIDGE, Junction / Oct 05 - NORWICH, Waterfront / Oct
06 - LONDON, Astoria / Oct 07 - LIVERPOOL, Lomax / Oct 08 -
SHEFFIELD, Leadmill / Oct 09 - GLASGOW, Garage / Oct 10 - DUBLIN,
Whelans / Oct 13 - SALONIKA (Greece), Mylos Club / Oct 14 - ATHENS
(Greece), Rodon Club
==> CHRIS CUTLER
Oct 06 - BUDAPEST (Hungary), Big Ear Festival
Oct 19 - AMSTERDAM (Netherlands), Bimhuis / Oct 23 -
EINDHOVEN (Netherlands), Festival
More info: http://www.ccutler.com
==> SOPHIA DOMANCICH
Oct 11 & 12 - PARIS (France), Sunside Jazz Club
[SD Trio, with Michel Zenino (b) & Francois Laizeau
Oct 24 & 25 - PARIS (France), Duc des Lombards
[Eric Barret Quartet, with Jean-Jacques Avenel (b) &
Simon Goubert (d)]
Oct 25 - LONDON, Royal Festival Hall [020 7960 4242] / Oct
26 - COLCHESTER, Arts Centre [01206 500900] / Oct 28 - MANCHESTER,
University Main Debating Hall [0161-832 1111] / Oct 29 -
NEWCASTLE, Whitley Bay
[0191-454 4494] / Oct 30 - GLASGOW, Old Fruitmarket [0141-287
5511] / Oct 31 - LEEDS, Irish Centre [0113 245 5570]
Oct 27 - ANGERS (France), Le Chabada / Nov 04 -
VERNOUILLET (France), La Scène / Nov 03 - GENEVE (Switzerland),
L'Usine [tbc] / Nov 10 - EVREUX (France), L'Abordage / Nov 17 -
LYON (France), venue tba / Nov 18 - MARSEILLE (France), Espace
Julien / Nov 23 - MULHOUSE (France), Le Noumatrouff / Nov 24 -
NANCY (France), Salle Poirel / Dec 22 - RENNES (France), Salle de
==> PROJECT LO
Oct 04 - WATERBURY (CT), Brass City Records / Oct 05 - NEW
YORK CITY (NY), Knitting Factory Knit (Active Soundstage) [2 shows
at 8 & 10pm] / Oct 06 - PHILADELPHIA (PA), Tin Angel / Oct 07
- PEMBERTON (NJ), Live Radio Concert [WBZC 88.5] / Oct 08 -
WASHINGTON DC, Metro Café
Line-up: Bon Lozaga, Hansford Rowe, Vic Stevens, Happy
Updates at: http://www.stips.net
Oct 12 & 13 - MONTREUIL [nr Paris] (France), Les
END OF ISSUE 165
CALYX - The Canterbury Website
THE ULTIMATE ONLINE CANTERBURY DISCOGRAPHY
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