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  ::                                                              ::
  ::                     - WHAT'S RATTLIN'? -                     ::
  ::     The "Periodical" Digest for Canterbury Music Addicts     ::
  ::                         Issue # 206                          ::
  ::                   Monday, January 5th, 2004                  ::
  ::                                                              ::
  ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

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Happy New Year everyone!

I am happy to bring you a new issue of WR that, for once, has very little stuff written by me - since I haven't come across many gigs or albums since the previous digest. Thanks to everyone who contributed, by the way. I was hoping to get to see Caravan on their recent series of dates but eventually couldn't, so it was a nice to surprise to learn that Caravan are coming back to France in March - they'll play a show at the Cafe de la Danse on March 20th (see e-mail from the band's management below). Camel played the same venue on their 1997 tour, I hope - and trust - Caravan's gig will be as packed as Camel's was. Oh, there's actually one new recording I've heard, and it's great - a few tracks from the upcoming University Of Errors album of early Soft Machine covers. This is absolutely killer stuff. The tracks I heard are "Hope For Happiness", "Feelin' Reelin' Squealin'" and "Jet-Propelled Photographs". I was also privileged to attend some of the mixing sessions for Pip Pyle's Bash album, which took place about 15 minutes from my where I live, in early December. Benji Lefevre was of course in charge, and this should be a great CD - release expected in Cuneiform's May 2004 contingent of new releases.

OK, that's it for now - please keep writing !!

Aymeric

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From: Caravan Management
Subject: Caravan date-Paris
Date: Tue, 9 Dec 2003 06:11:17 EST

Hi Aymeric
 
Hope you are well.I can announce a central Paris date for Caravan
 
This will be Saturday 20th March at Le Cafe de la Danse. Tickets to go on sale shortly.
 
Cheers
Vicky Powell (and a merry christmas to you)

* * * * *

CARAVAN News Update

This years tour went very well with the 35th anniversary show at the Bloomsbury Theatre being a particular highlight. The show inclded a special 15 minute acoustic section where Pye, geoffrey, Jan, Doug and Jimmy Hastings played Place of My Own, Love Song with Flute and Chance of a lifetime. This was followed by a full band version of Hello, Hello with Geoffrey donning gardening gloves to play electric hedge clippers - a sight to behold!! All in all the show was nearly 2 1/2 hours long.
 
This show was recorded both for DVD and a live album, which should both be available in the spring, via retail and the bands website. The acoustics are excellent at the Bloomsbury, and the DVD promises to be a step up from the Classic Rock releases, both technically and in total content.
 
Full fan comments on all the tour including the Bloomsbury show can be found on the Caravan chat forum on <www.caravan-info.co.uk>www.caravan-info.co.uk.
 
Eclectic Discs is now up and running with the new Caravan album "The Unauthorised Breakfast Item" being our first release, this has received excellent reviews in Record Collector and Classic Rock, here in the UK. We will be re-releasing Back to Front and The Album in the spring next year, fully remastered with bonus tracks and enhanced artwork to fit in with our policy of great sound and good packaging. We also hope to have Blind Dog at St Dunstans and Better by Far worked on to the same standard and available at some point next year - will keep you posted. Better by Far has never been on Cd at all and given the popularity of NightMare on the tour, we are always being asked for it.
 
If fans want to keep posted in this then we have a mailing list on the label website at http://www.eclecticdiscs.com.
 
Hope to see some of you at the Paris show, should be a good one.

* * * * *

AN E-MAIL FROM A CARAVAN FAN

From: Linda Allen  [mailto:linda.allen@ntlworld.com]
Sent: 01 December 2003  16:30
Subject: Great Anniversary  Concert

Hi there

Could you please pass on the thanks of a couple of  long time fans for last night's performance. It's the 10th time since around 1986 that I've seen the band and it was by far the best of those evenings. The sound was fantastic, the playing superb, and the choice of  material excellent. We all loved the acoustic set and urge the band to  consider more please!  Keep up the good work... it's surely for the love of it because there can't be any money in it for any of you / them!

Best wishes and thanks again to the band
Martyn Allen & Eamon Connor

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From: "Bob Hearne" <bob.hearne@btinternet.com>
Subject: Caravan gig review
Date: Thu, 4 Dec 2003 14:49:12 -0000

Hi Aymeric,

Keep up the good work.

Two more great evenings of Caravan. Having made the trip with Large, Tiz & Johnny P to the Deal gig earlier this year it was the lads turn to come from Epsom to my adopted home turf, Bristol, for a night at the Fleece. It was obvious that a bit more match practise since Deal, when we saw the new set and the new songs performed for the first time, has seen the band peak to the best that I have seen since the early days of Ewell Tech circa 1970 (my debut gig which converted me into a fan overnight).

I've been a bit torn over the departure of David Sinclair (be interesting to hear the new album), but it's clear to me now that the return of Jan has provided a much more solid feel to the band which compliments the frontmen of Doug and Geoffrey. Jim and Pye were solid as usual, and I reckon Pye's voice is stonger than the early days of the reunited band. Richard is as solid as ever on the drums and his performance on Revenge is outstanding. With the Friday hangover sorted it was time to say hello & goodbye to the family and then off to Epsom to meet the boys and watch Fulham trounce Arsenal 0-0 and then off to London for Sunday's show.

The Thursday and Sunday sets were the same other than the inclusion the acoustic interlude with Jimmy Hastings and, I think, the encore of Memory Lain Hugh/Headloss which was absent on Thursday. On the drive back to Bristol this morning the new album needless to say got an airing; this gets better with every playing. Even if it does not go Platinum it would be nice if their was a music award for the best original material for a 35 year old band! Great stuff lads, please keep it up!

Bob H

Full set list was as follows:

This Time
Its not Real
The dog, the dog he's at it again
And I wish I were Stoned
Golf Girl
Nine Feet Underground

Acoustic Set
Place of My Own
Love Song With Flute
Chance of a lifetime

Hello Hello
Head above the Clouds
Revenge
Nightmare
Smoking Gun
The Unauthorised Breakfast Item
Backwards / A Hunting we shall Go
For Richard
1st Encore ; Memory Lain Hugh/Headloss
2nd Encore ; If I could do it again I'd do it all over you.

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From: Hiroshi Masuda <hma@mvj.biglobe.ne.jp>
Subject: Keven Ayers Japan tour
Date: Mon, 29 Dec 2003 13:45:52 +0900

Hello!

This is the tour date of Kevin Ayers. I manage it

May
13th Pepper Land, Okayama 086-253-9758
14th Syuyukan, Ohmi Hachiman 0748-32-2054
15th Bridge, Osaka okunari@clearspot.jp
16th Shibuya, O-West, Tokyo03-5784-7088 http://www.shibuya-o.com/
17th Shibuya, O-West, Tokyo (TBC)

Tour management: POSEIDON 03-3264-5910
http://www.musicterm.jp/poseidon/

-Hiroshi

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From: "Kenneth Egbert" <kenegbertjr@earthlink.net>
Subject: Absolute Zero, featuring Pip Pyle
Date: Sun, 14 Dec 2003 19:05:12 -0500

Aymeric:

How do, it's  good to be scribbling for you again. Cheers on the season, a joyeux Noel for any and all even if they speak French as badly as I, and I humbly wish to submit the following review for your consideration:

ABSOLUTE ZERO: Crashing Icons (ReR Recommended, UK  - CD)

In apocryphal days, that is, back around when Jan Schelhaas joined Caravan - no, the first  time - I recall picking up the LP version of Soft Machine's TRIPLE ECHO on Harvest UK and noting a massive Canterbury family tree, courtesy of Pete Frame, and a note at the bottom which read, "If you think this is complicated, imagine what it'll look like in 1987". Given the tendency for our Canterbury evergreens to experiment and try different approaches, we fans are well versed in welcoming new evergreens to our favorite orchard.

So here's a new one: Absolute Zero, a brace of Floridians who hauled Pip Pyle aboard not long ago and as such have released a CD which to my leathery ears is nearly as much a  hit amidships as was the first Hatfield and the North album. No hyperbole spoken here: let me point out that in our dotage some of us tend to think, Ah, Ennui, I've Seen It All Before And It Was Done Better The First  Time. Simple impressionability of youth, however, is not, I believe, the only reason many were never as wowed again.

For myself, when the first Hatfields album fell out of the mailing carton from Warner Elektra Atlantic on that fateful day in 1974 in my college radio station's listening room I confess the only musician I knew of previously on it was Richard Sinclair. "Ah, might sound like Caravan," said I, and put it on, and was never the same person again. At all.

So I submit to you, dear reader, that although it was my familiarity with one member of the band that made me put the record on, it was my inexperience with the remainder of the band that  made the record such an ear-opening  revelation. Same thing for this CD here. I'd heard of Absolute Zero once or  twice before in one or another context, but seeing CRASING ICONS in the bag from ReR's plush new offices in Denver, Colorado, it was the fact that (as Dave Stewart once put it), "on the drums you've got international playboy and beer conoisseur Pip Pyle" that had me loading this CD in the player first.

Dear heavens. A medium-distant wash of musique concrete, or is that the London Symphony  Orchestra  searching vainly for the 'A' in a snow-filled privy (cold weather plays hell with the tuning, you know), as the conductor (one imagines Pip in tie and tails), tapping the music stand to bring all to  order. Sudden and wrenching lurches of fuzz bass and drums herald the opening "Bared Cross," each member of the rhythm section (low-end specialist Enrique Jardines and the redoubtable Pip) mightily attempting to drown one  another. And not 'out', you understand, either, but ah, what should steal as would a miasma (and it is) over said tussle but a Jon-Anderson-on-helium falsetto (that would be keyboard demolition expert Aislinn Quinn) declaiming, "Palindromic gesture / Damned if you do or don't..." and suddenly the madness is a whole, it wasn't an improv at  all. The downbeats coalesce, albeit in a time signature unknown to all  but theoretical physicists.

Er, wha?! Or if I WAS hearing an improv, this lot have discovered telepathy of  the completest order, full stop (don't let's allow the Pentagon or MI5 to hear of this, eh?). I was stunned. We all remember the late Alan Gowen's charge that as a musician it was his aim to make music in which it was impossible to tell what was written and what wasn't, but here the concept was as highly realized as I have ever come across.  It is simply this: a seamlessness of an order previously undreamed of, and a complete erasure of the line between  tightly arranged symphonic-level organization and balls-out "Go For It!!!".

I recall something this deceptively  simple-yet-complicated in the opening 60 seconds of Henry Cow's "Living In The Heart of the Beast", but never to such a level as this before or since. And more examples arrive like a flood throughout the 62 minutes herein! But for a while I couldn't stop replaying "Bared Cross" over and over, I was frankly certain I had partially taken leave of my senses (a common enough think for a music critic to do, c'est vrai) and this was all, oh, I don't  know, immoral or fattening or simply untrue. But no, "Bared Cross"  is as hideously complex and blissfully essential as anything in the Canterbury lexicon. Because once the declarative bit passes, Quinn meanders a slipstream vocal melody while cushily ensconced in a massive Jardines fuzz envelope, a sort of idiot savant ambience in Quinn's delivery, and there is actually a groove going on, Pyle peacefully riding the cymbals. Only for a moment, however, because soon Jardines turns on his band members and devours all within earshot (including the listener if one is  not careful), Quinn's Ensoniq quacks and spits as did the duck inside the Wolf in PETER AND..., Pyle laughs off-mike from the rafters, "Woo hoo!" as might have Widow Twankey had the Christmas pantomime gone  awry...  frankly, fellow auditors, I think once you listen to "Bared Cross" a few times you will wonder, as I did many years ago while "Son Of 'There's No Place Like Homerton'" bloomed from the listening room speakers for the first time, if this sort of thing was legal.

Thankfully it is because  far more serious outrages  lie elsewhere. "Further On" clocks at 20:45 but is every bit the essentiality, say, Dave Stewart's "Mumps" is to we the faithful, because length aside the inventive spark  heard in "Bared Cross" translates here to (among other bits) one keyboard/ sampler freakout from Quinn after another that simply refuses to stop piling actionable  indignities upon the listener. Tape loops of Prokofiev-like sleigh bells, synth marimba patterns, chiming bass lines herald the composition, and Pyle's later cartilage-crunching drum break for all its unstoppable energy may actually still be going on somewhere... well, words cannot speak of music. But I'm doing what I can. The vocal melodies on CRASHING ICONS have a Schoenberg-like austerity but in true Canterbury fashion tiny hook-like scraps dig into your head and you may well find yourself humming bits of this in the shower. For us aficionados, something we've become quite good at over time. Truly, a tour de force. And  Quinn is certainly the carefully self-editing human palimpsest, refusing to grab  the spotlight unless it's warranted. Major humility, considering how some keys players have  behaved since the invention of the electric piano.

Enrique Jardines is most probably the star of the band, I'd say, due to his facility at more bass  settings than I can find descriptive names for. His fuzz attack  rivals that of the redoubtable Hugh Hopper, including a high-pitched 'electric guitar' amp configuration akin  to one we've also heard Mr. Hopper use. At these points Quinn fills in the bass parts on synth, of course, and Jardines' meditations  have a prickly Adrian Belew- like gnarl to them. He appears to orbit the root chord a bit further out than, say, Phil  Miller will do.

But onward let's journey, for "Stutter Rock/You Said"'s gutbucket bass line recalls the single-mindedness of  the Healthies' "Dreams Wide Awake," and Quinn is not to be outdone by memories of Dave S.' finest recorded keyboard improvisation. Or at least it seems that way until a trumpet darts through (courtesy of Keith Hedger), startling everyone into a funk groove reminiscent of Herbie Hancock's "Sleeping Giant". Quinn cuts loose with the sampler and   the studio fills with blurbs and slurbs of  spittoon-viscous voice shards; even so I suspect the only reason why this track ends is because the disk drive topped out. Might be that Pip's shriek long on of "Oh, F it!!!" scared  off the engineer. Would have done me.

A word on Mr.Pyle: I have  heard some say he isn't the drummer he used to be.  Fie on them, because with this work he advances to the front of the front rank of percusionists  working in any kind of music you care to name. The man arrives again and again at the dead-center of the idea almost before either Quinn or Jardines think of it, he refuses to cavil about the infirmities of time or  experience -- the fact that Absolute Zero tended on their 1999 tour to stay in  rather substandard motels, well, that's worth an Email to the  management. After this workout I suspect Pyle's ready for a stint with Cecil Taylor! I say this because the fearsome improv of Soft Heap's last CD, A VERITABLE CENTAUR, showed that Mr. Pyle had no difficulty in an experimental avant-jazz atmosphere. For my money, the multiple hairpin turns on CRASHING ICONS are even a more insidious, and (his liner notes about having to rerecord most of this CD on a borrowed drum kit considered)  I am now convinced there's pretty much nothing the  man cannot do.

For those of you who think my raving has gone on too long, I agree and will just point out that the  strangled tangos and operatic/flamenco airovers of the closing "Suenos Sobre Un Espejo" do not  mask in any way yet another  bravura demonstration of the kind of cheery psychosis we have come to expect from the best Canterbury music; equally, as Richard Sinclair has opined, 'Canterbury' is no longer a place to the aficionado, it is a remagination of existing forms and a synthesis. It's  also, I'll add, an implication that we fans have learned to watch all the  passes for the next stroke of genius, never knowing whence it shall arise. Hence, the surprise, and the highly satisfying wallop, of CRASHING ICONS. Get this. Now.

(Band web site: http://www.absolute-zero.net.
Label web  site: http://www.rermegacorp.com )

-Ken Egbert                

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From: "Mike Johnson" <mike.johnson1@ntlworld.com>
Subject: Canterbury Web Radio
Date: Sun, 7 Dec 2003 18:03:22 -0000

Aymeric,

After following the link to the BBC website to investigate Dave Stewart's
involvement in the BBC Radiophonic Workshop I discovered a programme about
Canterbury music. This includes interviews with Daevid Allen, Kevin Ayers
and various members of Soft Machine and Caravan and loads of music. Great
stuff:
http://www.bbc.co.uk/6music/artists/city/canterbury.shtml

And remember the heavily Canterbury web music station Rivmic Melodies:
http://members.lycos.co.uk/perpons/rivmic.htm

Mike

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From: davidlayton@earthlink.net
Subject: Japanese Prog
Date: Sun, 30 Nov 2003 22:57:46 -0800 (GMT-08:00)

Hello there Aymeric and all rattlers everywhere.

I cannot believe it has been two+ years since I last responded to the digest. I have been reading every issue, though.

What prompts me to respond now are the two messages from Japanese Canterbury fans. One was the representative for the band Kenso. The other was a memeber of the band Sixnorth. If any of you out there have not heard either of these two bands, go out and get a CD or two. You will thank me for it.

I was turned on to Kenso when the played at the last Progfest here in Southern California in 2000. Kenso was not just the best band of the day, but probably the best band of the whole show, beating even the mighty Banco Del Mutuo Soccorso. The playing was sharp, definite, a smooth blend of rock, jazz, and Japanese folk music. Their CDs contain the same blend, in varying degrees. My favorite is "Yume No Oka" (Hill of Dreams) from 1991. The band has reissued most of their backlog, and though buying from Japan can be a little costly, in this case the enjoyment may be worth the cost.

I reviewed Sixnorth's first album, "I'm Here In My Heart" for "Progression" magazine a year or so back. At that time, I gave the album a good rating. Sixnorth reminds me a little of Kenso in the rock/jazz/Japanese folk mix, and in the high level of musicianship.  However, Sixnorth is much more jazz-oriented, and perhaps thereby closer to Canterbury style than is Kenso. This first album gets better, in my estimation, with each listening. There is that special sparkle to the music that comes from musicians who love what they are playing. I am happy to see that there is a new Sixnorth album. All too often, promising new bands fizzle after the first recording, leaving us to wonder what might have been.

I am also glad to see that newer (Kenso, in one form or another, has been around since 1976, so cannot exactly be called new) acts and younger (?) musicians are finding inspiration from our favorite musicians of 30 years ago. There is hope yet that good music, played by real musicians and not by machines and thieves, can find an audience, perhaps even one younger than most of us.

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From: adg@bayarea.net
Subject: random (canterbury) thoughts
Date: Tue,  2 Dec 2003 14:36:18 -0800

Greetings and happy holidays, Aymeric & fellow rattlers,

I hope that this message finds you well.

Don't have much to contribute, but, Aymeric, you shamed me into doing so anyway with your persuasive reasoning...

> 'Back to usual delays this time, both due to a lack of
> contributions (always the most decisive factor)'

One tidbit of information comes in the form of a mention of "The Music That Died Alone", a recently released disc by the neo-prog band, The Tangent. the band consists of members of the Flower Kings and Parallel or 90 Degrees; also in the band are guy manning and Van der Graaf Generator saxophonist David Jackson.

I purchased this disc about a month ago and have enjoyed particular passages, especially "The Canterbury Sequence", which comprises the following sections:

9. Cantermemorabilia (3:19)
10. Chaos at the greasy spoon (3:01)
11. Captain Mannings mandolin (1:39)
12. Up Hill From Here (7:08)

Caravan and Hatfield even receive mention in the lyrics, with the vocalist lamenting arriving 'late to the party in 1971.'

Some reviews i've read anoint it the 'album of the year', while others pan it as derivative. My impression is somewhere in between. The upshot, from my perspective, is that it's worth the money if you aren't predisposed to disliking neo-prog music outright. As is the case with much of the genre, the vocals take some adjustment but certainly don't offend my senses. The music flows through  different moods and realms constantly, at a pace that is quicker than I'm used to. Nevertheless, certain moments make this a worthwhile investment for those interested in trying some new music.

(an excerpt of a not-so-flattering review) from
http://www.musicomh.com/albums/tangent.htm

'More convincing is the tribute to the Canterbury bands, Caravan,  Hatfield And The North and Soft Machine. This was the whimsical, less po-faced, aspect of prog and the four tracks that make up The Canterbury Sequence capture, in the vocals, instrumental settings and lyrics, the joyous, eccentric spirit of the Canterbury scene.'

Another observation, which was probably mentioned in a previous issue (but what the hell), has to do with the very fine film, "Winged Migration". French in origin, so, Aymeric, I'm sure that you've long since seen it and are quite familiar with its contents. while enjoying the phenomenal visuals afforded by this masterpiece, I was startled to hear the familiar strains of one of our collective hirsute heroes, Roberto Wyatt. needless to say, if you haven't seen this film, I recommend that you remedy the situation post haste.

Another random note is the mention of a ritual that my wife, a close friend, and I have observed without fail for just about 20 years now. every year, on the full moon in the month of June, we pack a tune player and a selection of CDs out to the nearby hills and celebrate all things musical and celestial. While I used to play my CD copy of the BBC Softs session ("Soft Machine Turns on", which as we all know, was first issued on "Triple Echo"), I've since dubbed my own moon disc with tunes that center on, or even just mention, the reflective orb. In addition to the tune from which the ritual was drawn, tracks include "Lunar Musick Suite" (Hillage), "Moonchild" (KC), 'Moon Touches Your Shoulder' (PT), "Mad Man Moon" (Genesis), and "Full Moon Raga" (Clearlight), among others. Over the years, we've witnessed pellucid skies, partial clouds, wind, fog, and rain. one of the most compelling aspects of this ceremony has been how one's perception of a piece of music can change over time. It's as much a reflection of oneself as it is of the music. I hope that I leave this realm before I reach the stage where I'm either unable or unwilling to spend an evening (of what is usually a work night) to honor a tradition that has since become an integral part of who I am and what I believe in... The power of music, the wonder of the night sky, and the gradual yet ultimately humbling impact of the passage of time.

I wish you and fellow Rattlers the best in the hectic holiday season and throughout the new year.

Anatole

PS: One other contribution that I can think of at the moment is the amount of mileage that I'm getting out of the relatively recent release of "Backwards" by Soft Machine. In particular, certain passages of "Facelift" hit me clear to the bone. I've been overplaying this disc - largely because I'm giving most of my other Softs titles a break after grinding them to dust over the years - and it is standing up well to the test.

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* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
*               FORTHCOMING CANTERBURY-RELATED CONCERTS                 *
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *

        [for more info : check out the 'Concerts' page of CALYX]
                    http://canterbury.free.fr

==> Kevin AYERS <========================================================

May 13 - OKAYAMA (Japan), Pepper House / May 14 - OHMI HACHIMAN (Japan), Syuyukan / May 15 - OSAKA (Japan), Bridge / May 16 - TOKYO (Japan), Shibuya, O-West / May 17 - TOKYO (Japan), Shibuya, O-West (tbc)

==> CARAVAN <============================================================

Mar 20 - PARIS (France), Caf de la Danse

Line-up: Pye Hastings, Jan Schelhaas, Richard Coughlan,
         Geoff Richardson, Doug Boyle, Jim Leverton, Simon Bentall

More info/updates at http://www.caravan-info.co.uk

==> "DEDICATED TO YOU" TRIBUTE TO ROBERT WYATT <=========================

Feb 10 - FACHES-THUMESNIL (France), Centre Musical 'Les Arcades'

John Greaves - Vocals, Bass & Piano / Sylvain Kassap - Clarinets / Hlne Labarrire - Double Bass / Karen Mantler - Vocals, Organ & Harmonica / Jacques Mahieux - Vocals & Drums / Dominique Pifarly - Violin

==> GONG & CO <==========================================================

Apr 03 - OSAKA (Japan), Bridge [Acid Mothers Gong] / Apr 04 - SHIGA (Japan), Shuyukan [Daevid solo, etc.] / Apr 05 - OSAKA (Japan), Bears [Guru & Zero & other units] / Apr 06 - OKAYAMA (Japan), Pepperland [Guru & Zero & other units] / Apr 07 - YAMAGUCHI (Japan), Indo-yo [Guru & Zero & other units tbc] / Apr 08 - TOKYO (Japan), Doors [Acid Mothers Gong] / Apr 09 - NAGOYA (Japan), Tokuzo [Acid Mothers Gong]

Apr 16-20 - EUROPE, details tbc [Gong] / Apr 21-25 - ITALY, details tbc [Gong] / Apr 26 - EUROPE, details tbc [Gong]

Apr 28-30 - UK, details tbc [Gong] / May 01 - FALMOUTH [Gong] / May 02 - UK, details tbc [Gong] / May 04 - SHEFFIELD [Gong] / May 05 - LEEDS [Gong] / May 06 - NEWCASTLE [Gong] / May 07 - GLASGOW [Gong] / May 08 - DERBY [Gong] / May 09 - MILTON KEYNES [Gong] / May 10 or 11 - MANCHESTER [Gong] / May 12 - UK, details tbc [Gong] / May 13 - BRISTOL [Gong] / May 14 - LONDON [Gong] / May 15 - MORECOMBE [Gong] / May 16 - WOLVERHAMPTON [Gong] / May 17 - NORWICH [Gong]

Info/updates at http://www.planetgong.co.uk

==> Hugh HOPPER <========================================================

May 29 - St.JEAN-AUX-BOIS [nr Compigne] (France), Les Naades

FRANGLOBAND : HH, Patrice Meyer, Pierre-Olivier Govin, Franois Verly

==> Didier MALHERBE <====================================================

Jan 16 - BOULOGNE-SUR-MER (France), Thtre Monsigny [Hadouk Trio] / Jan 24 - BOISSY-LE-CUTTE (91) (France), Salle des Ftes [L'Anche des Mtamorphoses] / Mar 06 - St.JEAN-AUX-BOIS [nr Compigne] (France), Les Naades [DM Trio]

More info/updates at http://www.didiermalherbe.com

==> SOFTWORKS <==========================================================

Mar 03-05 - MEXICALI, CA (USA/Mexico), Baja Prog 2004

=========================================================================

* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
*                        AND OTHER GOOD GIGS...                         *
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *

==> MAGMA <==============================================================

Jan 24 - MONT SAINT-MICHEL, venue tbc / Jan 30 - TRAPPES, La Merise / Jan 31 - NANTERRE, Maison de la Musique / Feb 05 - MARSEILLE, Espace Julien / Feb 06 - SIX-FOURS, Salle Andr Malraux / Feb 07 - NICE, Thtre Lino Ventura

=========================================================================
=========================================================================

                          END OF ISSUE 206
_________________________________________________________________________

WHAT'S RATTLIN'?     -      WHAT'S RATTLIN'?      -     WHAT'S RATTLIN'?
_________________________________________________________________________

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