::                                                              ::
  ::                     - WHAT'S RATTLIN' ? -                    ::
  ::       The Weekly Digest for Canterbury Music Addicts         ::
  ::                         Issue # 107                          ::
  ::                 Thursday, October 15th, 1998                 ::
  ::                                                              ::


From: Brian L Hopper
Date: Sun, 4 Oct 1998 00:43:36 +0100

Dear Aymeric,

I have only recently discovered 'What's Rattlin'' - what a great newsletter  - plenty of fascinating information as well as interesting input from  correspondents.  Together with Phil Howitt's Facelift, It's been especially  useful for me as an aid for getting back into feeling and thinking once  again about the progressive music scene (and the Canterbury connections in particular).  In the last two or three years I have renewed my musical involvement, not only in writing and playing some new stuff, but in  revisiting my collection of old archive tapes.  The object of this has been to put together a project of archive material and attempt to draw the definitive musical base line from which most of the Canterbury movement subsequently developed.  Comments received from a variety of people made me aware there was an unsatisfied curiosity as to how the 'Soft Machines' and 'Caravans' of this world really developed and what did the individual musicians who were involved really sound like way back then and what influenced and motivated them!

It really started with the pulling together of the Wilde Flowers material for the Voiceprint CD and which hopefully allowed all those interested to hear the reality behind a band that seemed to have achieved a near mythological status.  However, the Wilde Flowers represented only one part of the development of the so-called Canterbury scene and with a lot more old tapes that I had held onto all these years, Rob Ayling of Voiceprint persuaded me to do something with them as he was sure that there would be a lot of interest in what they contained.  A sort of unearthing of the Dead Sea Scrolls!

Anyhow, after many hours of sifting through these old recordings, with subsequent editing, cleaning-up etc., the archive project which I have called 'CANTERBURIED SOUNDS' has finally made it in the form of a four volume CD set, although Voiceprint are going to release them at about three-weekly intervals.  Volume 1 is set for release in early October.

Apart from the music and the influences evident from much of the material there are several 'firsts' and 'unexpected' combinations of musicians.  Of the former, you can hear the first ever recorded examples of Kevin Ayers (with the Wilde Flowers); Hugh Hopper on bass guitar and vocals; Geoff Richardson on viola (with Caravan); Robert Wyatt playing not only cornet, but also cello and guitar - as well as his usual range of instruments; a unique recording of the Caravan line-up which included Derek Austin on keyboards and Stuart Evans on bass (a line-up which toured but never released an 'official' recording) and Mike Ratledge playing 'cocktail lounge' piano standards.  Examples of 'unexpected' combinations can be heard in the form of Jimi Hendrix playing bass guitar with Robert Wyatt, Caravan and Zobe jamming together at a live gig and a Soft Machine rehearsal with an accidental 'backing' by Ken Dodd (an English comedian)! The musical styles to be heard on these CDs cover a broad range representing the diverse influences and interests we had during the sixties and early seventies, both collectively and as individuals.  These include blues, rock and pop, ethnic, jazz of different styles and free form explorations, with sundry excursions in between.

There are also several 'mysteries' where the 'deterioration in grey cells' over the intervening years have left those who were around at the time of the original performances struggling to identify certain people, places and titles.  Notable amongst this category is a guitarist who appears on several tracks who cannot be identified by any of us who were obviously playing with him on the recordings!  Also a few of the titles we were unable to recall, but there are bound to be several knowledgeable enthusiasts who hear the CDs that I'm sure will put me right!  I hope that may generate some correspondence!

I believe this selection can probably be described as The Definitive Collection, forming the base line for all that came after in the name of the Canterbury movement.  Above all, it represents the very beginnings of the core Canterbury musicians - the earliest recordings are from 1962 and early 1963, synchronous with Daevid Allen's and George Niedorf's early influential roles at Wellington House and bringing forward the fruits of even earlier musical experimentation between myself and Mike Ratledge (of which no recordings survive unfortunately).  The collection also contains some examples of the subsequent developments of many of these musicians in the late sixties and early seventies.

Whatever the reality may be, the intention with this collection is to provide the listener/enthusiast/the curious with some basic points of reference, historical interest and I hope enjoyment, because after all, that is what we did it for in the first place!

Brian Hopper


From: Steve Taaffe <classic@feist.com>
Subject: Radio Free Kansas New Prog shows
Date: Sun, 04 Oct 1998 18:46:30 -0500

Radio Free Kansas has just released 9 new Real Audio shows featuring the best in Progressive music. One of our shows is a solid hour of Gong. Surf by our site when  you have time.

We are now over 300 mb of Real Audio music programming.

A special thanks to all the Rattlers who have emailed me. Thanks for your support. It's appreciated!

Steve Taaffe
Radio Free Kansas
A BMI licensed website


From: GHenry1480@aol.com
Subject: Pierre Moerlen
Date: Fri, 9 Oct 1998 07:42:35 EDT

Yellow all,
Can anyone tell me if Pierre Moerlen is still touring with Gong And
if so are there any U.S.concert plans,he is my favorite drummer of all

Greg[The Jersey Gypsy]


From: Michael Rae <raejonnymac@yahoo.com>
Subject: Fave "Canterbury" record
Date: Fri, 9 Oct 1998 06:53:52 -0700 (PDT)

Hullo Aymeric,

In response to a favourite "Canterbury" record, I heartily submit the 1st solo album by El Dingbatski hymnself, Daevid Allen's "Banana Moon". In my opinion, this album captures what I think is the Canterbury "Spirit"...Daevid  continues to be a cornerstone in this musical phenomena, d'accord?

Anyway, back to ZE EVIDENCE! First of all, the players: you have Daevid, Robert Wyatt, and the CAMEMBERT rhythm section making a brief appearance on "It's the time of your life" which, just in this one song, captures the spirit(my own humble opinion)...next you have what may be the most heartfelt version of the Hugh Hopper chestnut, "Memories"...it captures the emotional sadness of dissolved relationships rather well, eh?
Next, you have "All I want is OUT OF HERE" which is an excellently flippant rage/rave; I love the way it goes off the deep end when Daevid proclaims that "I'll have to go MY WAY"...then you have "Fred the Fish and the Chip on his Shoulder" a hilarious love(?) song...too bad the original Soft Machine version seems to be lost forever; then you Have "White Neck Blooz" which "evokes the spirit of Kevin in Ayerland" very bloozy indeed...Daevid told me that through tape pitch manipulation he achieved the desired "Kevin" effect. And that's only side one! In vinyl terms for all you "youngsters" out there.
Side two starts out with the classic "Stoned Innocent Frankenstein" a tune hinting at the overindulgence of the Early benefactor of the Soft Machine, "WES". Heading into uncharted (sonically and/or musically?) territory, next up is "...and his adventures in the land of FLIP" sonically adventurous, free-form & bitterly defiant, this captures the enraged spirit of the French student riots in '68...not for the faint of heart, I reckon.
Last, 'tho certainly not LEAST, is "I AM A BOWL"...What can I say about this tune, except that it's a Canterbury "Classic"; peculiar linear guitar line sets up RW's excellent jazzy syncopations, Daevid's bop-ish wordplay, the bass underpinnings of the late Archie Leggett and wonderful horn "Blowing its nose"....
Well Aymeric, thanks once again for keeping all us online Canterbury freaks LINKED, and also congratulations on reaching, and moving beyond, issue # 100!

                                    Most sincerely,
                                    Mike Rae  


From: Dgasque@aol.com
Subject: Ogun Question
Date: Fri, 9 Oct 1998 21:48:13 EDT

Hello all-

I hope too many of you CB'ers don't consider this too off-topic...

How does Ogun determine what is reissued on their label?  I have been patiently waiting since the advent of the CD medium for Louis Moholo's _Spirits Rejoice_ to be re-issued on that format.  It seems that every release on that label *except* for that title is available now (yeah, i'm streching things a bit...)  It is surely one of the highlights of the British jazz scene of the 70's!  C'mon, Ogun- let's see it!!

On another note- kudos to Voiceprint on the excellent reissue of _Kew Rhone_ .
Absolutely brilliant package of an equally brilliant piece of music!


From: Malcolm Humes <mal2@mal.net>
Subject: Gowen/Holdsworth and Laswell
Date: Sat, 10 Oct 1998 01:41:52 -0700

[In WR#106, Aymeric Leroy wrote:]
>Holdsworth's inability to read music was apparently the main reason for
>him not being recruited by Alan Gowen in Gilgamesh when he formed
>the band in 1972. He chose Phil Lee instead. Who knows what would
>have happened if...?

But Allan Holdworth, Alan Gowen and Jamie Muir (an a bassist I forget) were already in a band (Sunship?)  circa 1971 that fell apart when Muir was recruited by King Crimson. Apparently they never got much beyond rehearsals or a few live gigs. One can only wonder how incredible this team might have been in breaking new ground in improvised musics given what all of the folks when on to do. And, it seems to me that despite Gowen's composing talents I'd heard that his compositions intentionally left open room for improvisation. In any case, Gowen had just played with Holdsworth (and was apparently very disappointed in Muir's departure) just before Gilgamesh came to exist.

Anyway, there are some references to the Sunship band in an interview with Jamie Muir from the early 90's in Ptolemiac Terrascope that I think are also in archived posts from the Fripp/Elephant Talk list at that web site. Holdsworth was asked about this project in the 90's by Anil Prasad in an interview that should be on http://www.innerviews.org/ but he doesn't have much to say... I've tried asking indirectly through folks who have contact with Gowen's widow (now remarried to a Canterbury bassist) as to whether any archived recordings might exist of their works. I really hope that some tapes might be found someday that might shed light on the intersections of Gowen/Muir/Holdsworth... it's sort of ironic that Muir left to join KC and that years later Holdsworth stepped in with a remainder of post '74 KC alumni to form UK.

Regarding Laswell, aside from the mentioned Daevid Allen connection and his work with Frith, it's perhaps worth noting that another Canterbury connection between Allen and Laswell was via Giorgio Gomelsky hosting the Manifestival(s) and ZuFest shows and tours circa 1978 and 1979. At the time, the Zu/Material band was doing at least one Eno cover in live sets (Sombre Reptiles, I think) and Laswell also fell into some quotes of Magma/Weidorje basslines on live recordings I've heard. Gomelsky had produced recordings by Soft Machine and Magma... as a bassist it's not surprising that Magma's power bassists Jannick Top and Bernard Paganotti and the bass-driven opus of Weidorje would have influenced him.

And I think Gomelsky had connections to Celluloid where Laswell had a stint as house producer in the mid 80's. And Laswell and Frith formed Massacre at the suggestion of Peter Blegvad. But Laswell's music and Schulze really have little connection to Canterbury musically. Laswell seems to have intentionally dropped any reference to NY Gong on his official discography (http://www.hyperreal.org/music/labels/axiom/), and Laswell also appears on source recordings of tapeloops Daevid used for his DividedAlienPlaybacks80 tour and lp.

  - Malcolm Humes

P.S. check out one of my websites, Memory Overflow, for some writings/drawings by Blegvad and the Philm Freax zone full of vintage photos of Hatfield, Daevid and much more if you haven't already seen em: http://sunsite.unc.edu/mal/MO/


From: Proggdog <mgaines@onr.com>
Subject: Robert Wyatt "The End of an Ear"
Date: Sat, 10 Oct 1998 01:59:28 -0500

Hello Aymeric:

Thought you might enjoy this review I posted to rmp tonight on Robert
Wyatt's "End Of An Ear" album. I don't know if you can use it for the
site but enjoy it anyway.

ROBERT WYATT           "THE END OF AN EAR"                  CBS
   (UK)                            1973                     FRANCE

How to go about describing the works of Robert Wyatt to the uninitiated, with his embryonic ambient sea of interstellar delights, is frustrating and challenging, and would take a rainbow of explicative descriptions in hand, detailing his musical accomplishments to the world of progressive music. Quite simply put, Robert Wyatt is the hierarchy that is the experimental aspect of progressive music, from his Jazz/symphonic structuring in Soft Machine and Matching Mole to his majestic "Shleep" album from this year, Wyatt has been a foundation of insights in experimentation and self discovery. I became initiated to his unique warblings on Soft Machine (1968) and have followed his creative output ever since then. It would take a book here to describe Robert's history and someone else has already taken it to task ("Wrong Movements; A History of Robert Wyatt" by Michael King 1984 SAF press UK). What I find so intriguing with End of An Ear is that it allows us to take a look inside the mechanics of Wyatt's songwriting developments which were just emerging, post Soft Machine and pre Matching Mole and on into the solo undertakings that followed. The only previous tidbit that was available on a wide scale import basis was "To Caravan and Brother Jim" on the fine retrospective "Going Back A Bit; A History of Robert Wyatt". This is not an album for beginning Wyatt enthusiast but rather an open book for those familiar with the Wyatt terrain, a study in the compositional stylings and ambient structures that lie at the heart of what Wyatt is all about, musically speaking. To the average observer, these are nothing more than self indulging tantrums and bizarre emotional outbursts that represent a musically deluded mind. It was amazing that CBS Europe even allowed Wyatt the indulgence required to complete it and in the liner notes he thanks everyone from record executives to engineers for their patience. Keep in mind this is 1970, when this sort of meandering would have prevented you from ever maintaining any kind of stable recording commitment from any major label, but Wyatt triumphed. Comprising David Sinclair on Organ with Elton Dean (alto sax), Kevin Ayers (Assorted percussion), Neville Whitehead (bass), and Mark Charing (cornet) Wyatt creates soundscapes of Zappa proportions. "Las Vegas Tango(Part I)" is a rolling percussive study in embellishing structures of RIO surrounded by vocal noodlings and scat feathering so strange in development and ideas it takes a few playings to get accustomed to. Most of the others, instrumental works, follows suite, with the exception of "To Caravan and Brother Jim" and
"To Carla, Marsha and Caroline" in them we hear elements of what would become  "Alfib" and "Sea Song" from Rock Bottom, well worth the admission alone. An End of An Ear is not the album Robert Wyatt was making to pave his way into the progressive world but was a fascinating experiment that would lay the ground work for masterpieces to follow. The spirit in which it was made is the backbone of ideals that hold the current state of experimental whimsy to the forefront and permits it to blossom in our present day.

"The Only "recognizable tradition" a poet need to follow
 is himself....& with that,say,All those things out of
 tradition he can use,adapt,work over,into something for
 himself. To broaden his own voice with.(You have to start
 and finish there.....your own voice......how you sound."

                                     (Amiri Baraka from liner
                                      notes to End of An Ear)


From: mihra@cerbernet.co.uk (Roger Bunn)
Subject: Yo Al
Date: Sun, 11 Oct 1998 10:44:47 +0100

Harry Beckett was with Jazz Against Apartheid, we did quite a few gigs together, some with Louis Moholo.

This is the sort of American thing, with which we are obliged to deal with..

And we could do with some assistance. But from whence it comes, remains a mystery.

LA Talks is not a newsgroup as such.. This is but a snip..

LA Music Talks

Dear Jerry,

If you want to get serious, you could consider that the USA, per head of capita gives less in public funding to the arts than any other western nation.

So in terms of

"I propose the following to musicians: Have several bands (perhaps playing several different styles of music) pool resources and buy a club. So on nights one of the bands playing can take the lion's share of the revenue (after expenses). What do people think of this idea? Has anyone tried it?
Jerry Rosen, Los Angeles"

We suggest you ask that nice Mr Clinton, frustrated tenor player and President. IE : The arts funding establishment  

That would be the "proper" thing to do, at least while the cartel is still around. But who  knows, maybe there is someone out there with enough bread to open such a place, or who values the lucidity and integrity of this most basic


Eno?  No help... where is my money Eno? Silence.

I bet John (Wetton) got paid before he walked on stage.;-) at least I hope so..

Gonna be working hard (over the winter) with Brian to produce some prog rock research material you may wish to use. He now has a full copy of my auto-biog

Bye now, pissed off, want to give it all up, fed up, hate political activism, gonna go a jump off the nearest (Brit) bridge and see if my brain cell will bounce..

  argh!!   ;-)  bye


I just spoke to my adopted "son", Micheal Patto Jnr, (who was also at the Elvin Jones gig at Ronnies), and who had no idea that the Timebox re-release was around.

Another question must be, does the "Admiral" John Halsey (drummer with Timebox) know about this?

While it's "perfectly ok by me" for Patto, Ollie and Timebox, (favourite band  of Princess Anne and frequently on the Paris royal party scenes) to steal an antique chandelier from "les French" ;-) (establishment), it ain't too cool  for them, or what's left of them, to not know about the above..

So please could you send me all the gumph you can?



From: Age Rotshuizen <age@cable.A2000.nl>
Subject: Re: Canterbury Free Jazz in London?
Date: Mon, 12 Oct 1998 12:37:07 +0100

[Julian Belanger <nomad@netrover.com> wrote:]
>I understand there is a bar in London, England where the Canterbury Jazz
>dudes jam once a week(or bi-weekly). I heard Lol Coxhill and all, jam there
>weekly. Does anyone know where this bar is in London. I may be going to
>England on my honeymoon in June and I wouldn't mind hanging out with Lol
>Coxhill nad his mates. :) Some info. would be greatly appreciated please.

I'm not sure, but when I was in London this summer I found a flyer in Ray's
Jazzshop (not to be missed! 180 Shaftesbury Avenue - loads of English jazz,
vinyl & CDs, Ogun, SLAM etc.) which mentioned a concert on Friday night by
Lol Coxhill & Gerry Fitzgerald in:

The Klinker
@ the Sussex Pub
107A Culford Road NI

Hope this helps,



From: phil howitt <facelift@gpo.sonnet.co.uk>
Subject: A few things to pass on
Date: Mon, 12 Oct 1998 22:27:03 +0100

Hi Aymeric

Local press in Manchester informs us of a few forthcoming gigs at the RNCM
(Royal Northern College of Music) featuring artists with connections to Canterbury scene musicians at the jazzier end of the spectrum. I shan't go
into the more spurious links, just give you a list of dates: Mike Westbrook
performs his new work Platterback on 25 Oct, Norma Winstone/Kenny Wheeler
on 3 Nov, and Django Bates on 17 Nov. Keith Tippett is one of four solo
pianists playing separately on 18 Oct. I presume there will be other dates
elsewhere, but I have no other info apart from this. Box office: 0161 907 5278

Just received the first of the CANTERBURIED SOUNDS CDs published by Voiceprint. Very much in the spirit of the Wilde Flowers CDs, this is the first of four CDs digging Brian Hopper's vaults in search of unreleased 'Canterbury' material. Vol 1 is the early stuff, including jams and lo-fi recordings from the early and mid Sixties involving both Hoppers, Robert Wyatt, Kevin Ayers, and some material so dusty that even the musicians' names have been forgotten! Very much the highlight is the two Caravan pieces that dovetail the release, two long pieces from the early, classic line-up recorded live - the two tracks are 'Feelin Reelin Squeelin' (not the BBC live performance which has been much taped but apparently lost), but an equally manic, acid-drenched version of the old Softs number; and a fine instrumental version of Gershwin's 'Summertime' - a real treat, ideally suited to Caravan's sound. Release date says 9 October, so should be in the stores soon. Sleeve notes by Brian Hopper.

Gigs you have missed... (me too) - the Guardian listed Lol Coxhill and Pat Thomas playing in Liverpool a couple of weeks back. Graham Clark (Gong) and Graham Massey (808 State) continued their unique collaboration of electronics and atmospherics at Manchester Cathedral in mid-September supporting the Durutti Column - although the pillars in the Cathedral gave extremely restricted viewing, I spotted Graham Clark at various points on violin, keyboards and some rather nice vibraphone!

That's all for the moment.


FACELIFT Magazine has been exploring the Canterbury scene and beyond since

Facelift 18, including a 23-page Bill Bruford interview, and Facelift 19, with Dirk Campbell, Pierre Moerlen interviews are now available for £2 each (£2.50 Europe, £3 elsewhere) from Phil Howitt, Facelift, PO Box 69, Manchester M16 8RD, UK.

Or for details of how to subscribe to Facelift e-mail



From: TALandon@aol.com
Subject: Whatt's Rattling - Canterbury music and albums
Date: Mon, 12 Oct 1998 18:27:54 EDT

Hello all.

A little contribution to the ongoing - and never-ending - 'what is Canterbury
music' debate, including my choices for the three essential albums.

For me, Canterbury music is something derived from (but not necessarily close to) one band: the Wilde Flowers, a band that I've never heard though I believe
there are now demos available. This music is characterized by a keyboard-based
sound - unlike the pervasive guitar-based stuff of the time - heavily influenced by jazz, but also close to pop music, not leading necessarily to what became Jazz-Rock. There is also a particular keyboard sound involving the use of wah-wah and fuzz on 1960s organs (Lowery and Hammond, I believe, though I'd be interested to have details about how M. Ratledge, D. Sinclair and D. Stewart got their amazing noises out of whatever they were using). It is also a music characterized by experimentation, particularly in terms of time signatures, and by a certain vocal whimsy (Ayers, early Wyatt, Richard Sinclair, Pip Pyle's lyrics...) which brought humour to an otherwise academic musical exercise.

Having said all that, there is the wider 'Canterbury' scene, often with no geographical link - I'm thinking of Dave Stewart (who apparently hates being called a Canterbury musician), henry Cow (a Cambridge band, I believe), etc. As others have already pointed out in WR, there is also a certain musical promiscuity in the Canterbury scene which, in my case certainly, made me into a 'line-up' freak - who played where and when, etc. I used to have a friend who managed to link Mike Ratledge and Frank Sinatra via various Canterbury and non-Canterbury sidemen - sadly I can't remember the details, but such exercises are reasonably easy, if you like that sort of thing.

So... my selection. I must admit that, for me, there are really only four 'real Canterbury' bands: Soft Machine, Caravan, Hatfield and the North and National Health. All the others, for me, are 'related', though that doesn't mean that the others are any less important.

My three albums summing up 'Canterbury' music are:

1. Soft Machine 2

OK, I know, everyone will say, why not Softs 3, but Softs 3 is already a move towards jazz without the pop element, while Softs 2 is still pop and a GREAT psychedelia album. It's also the album which made the whole thing into a story, rather than a magnificent one-off (Softs 1), while announcing everything we love - strange time signatures, Robert's vocals, Hugh's lovely lyrics, the unusual keyboard sound - and, personally, though I knew Softs 1, it's the album which really turned me on to music! It also has a certain self-referential quality ('Kevin is highly unlikely to get ill, etc.) which led me to look at the other related bands, too.

2. The Land of Grey and Pink (Caravan)

This album is quintessential, combining all the above and accentuating the whimsical pop side of it all. Nine Feet Underground, etc. is one of the best and most accessible results of the Canterbury scene - let's not forget that Aymeric asked us to choose three albums to introduce Canterbury music to people. The keyboard sound is there (never better) and the songs are strong (Land of Grey and Pink). By far the best of Caravan's albums (several others of which I love) and still undated (unlike most of their other records).

3. The Rotter's Club (Hatfield and the North)

This time, it's the BAND that's quintessential, as well as the music, which seems to me the ultimate résumé of 'Canterbury' music (yes, I know only Richard Sinclair comes from Canterbury). But can you imagine the delight of (sick) people like myself when Pyle (from Gong), Sinclair (from Caravan), Miller (from Matching Mole) and Stewart (from Egg) got together and interwove all the vaguely 'Canterbury' bands that we loved? Actually, I'm sure some of you can, since you're as sick as me!

Besides the line-up aspect, it also seems to me to bring all the best of the various bands together and make something new and unequalled, in musical terms. The pop's there, the musicianship and time signatures are there, the jazz is there, the humour's there - it's all there. I agree with Aymeric that they are my favourite band... until I listen to National Health or In Cahoots. This is intelligent, amusing and above all highly listenable music - not difficult at all, like some Soft Machine, for example, even though I love that too. It really is what Dave Stewart now purports to make (haven't heard it): pop music for adults. It's also better produced than the first Hatfield and the North album (which I also love).

Having said all that, I have tried several times (successfully) in turning people on to this music, but I have always modulated the choice of albums to suit the person's previous tastes - after all, it's one of the wonders of the 'Canterbury' school: there's so much in it.

Love to all.



From: WENDORF <jrr88@earthlink.net>
Subject: new prog book
Date: Tue, 13 Oct 1998 20:07:14 -0500

Announcing the much anticipated release of The Billboard Guide To Progressive Music by Bradley Smith. At last - a serious and fully in-depth critical study of this exciting artform. For newcomers and long time fans alike, The Billboard Guide To Progressive Music is the definitive volume on this diverse musical genre.

All of the many progressive music subgeneres are examined , including:

-conceptual progressive rock (Genesis, Gong, Mike Oldfield, Renaissance, Yes)

-Canterbury (Egg, Hatfield and the North, Henry Cow, National Health)

-driving instrumental fusion (Brand X, Djam Karet, Mahavishnu Orchestra, Return to Forever)

-Krautrock (Dzyan, Guru Guru, S.F.F., Klaus Schulze)

-progressive pop (Kate Bush, Danielle Dax)

-ECM impressionism (Ketil Bjornstad, Terje Rypdal, Steve Tibbetts, Eberhard Weber)

-New York 'downtown' (Glenn Branca, Lunch Factor, Massacre, Teenage Jesus and the Jerks)

-collage (Ron Geesin, In Be Tween Noise, O + A)

-serious new age (Deuter, Emerald Web, Lightwave, Liz Story)

These and many, many more artists are covered comprehensively.

From Agitation Free to Zao, The Billboard Guide To Progressive Music looks at music from the 1960‚s to the 1990‚s, ranging from countries such as France, Sweden, the Netherlands, Norway, and Czechoslovakia, as well as the U.S., the U.K., and Germany.

In the ultra-bland, ultra-commercial, dead-ended world of current popular culture, The Billboard Guide To Progressive Music is the leap forward and breath of fresh air everyone has been waiting for. Take a step into a new, intelligent future and get your copy of The Billboard Guide To Progressive Music today. In bookstores everywhere.


From: Age Rotshuizen <age@cable.A2000.nl>
Subject: Canterbury new releases
Date: Wed, 14 Oct 1998 18:45:13 +0100

Hullo der,

here's some new releases:

* I've just got my hands on Caravan's "The Show of Our Lives" (Mooncrest
Records 1998). It first seemed to be another smudgy compilation (like
"Travelling Man"), but it's an interesting CD with alternate takes and live
tracks from 1970-1975 (?) - no details in the booklet however. Anyone who
can give more details....

1. Love to love you - studio recording
2. In the land of Grey & Pink - studio recording
3. Golf Girl - studio recording
4. Love song without flute - studio recording
5. Love in your eye - studio recording
6. If I could do it all over again - studio recording
7. Hello hello - studio recording
8. And I wish I were stoned - studio recording
9. For Richard - studio recording
10. Headloss - live recording
11. The show of our lives - studio
12. Memory lain Hugh - live

* Voiceprint is going to release a 4 volumes series of CDs called Canterburied Sounds with never released material from Wilde Flowers, Caravan and various collaborations of Wyatt, Hopper bros, Ratledge, a.o. First volume has been released, second is soon to be followed.
[see above - I have put the tracklists of all four volumes on Calyx's new releases page]

* Elton Dean - Headless Quartet - I don't know when this will be released.
The Headless Quartet is: Dean, Maguire, Bellatalla & Bianco.



From: CVPlummer@aol.com
Subject: Kevin Coyne
Date: Wed, 14 Oct 1998 23:21:55 EDT


I want to invite all of you to my website devoted to the great Kevin Coyne. This musician and artist is still alive and kicking today! The proof is in his relentless touring and art exhibit schedule.. The address is -


It would be nice to hear from other Coyne fanatics out there, as well!!

I saw Kevin and his Paradise Band this past October 3rd in Freiburg, Germany... It was an unforgettable night.. You can read a review and see some pictures of the show on the website..

I will be expanding it much in the coming months, and I hope to have Kevin's participation, also..


Chris Plummer, USA...


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

[for more info : check out the 'Concerts' page of CALYX - see URL below]

Oct 30 - London, Astoria

Oct 15 - Rotterdam (Holland), Dizzy
Oct 16 - Argenteuil (France), La Cave Dimiere
Oct 17 - Villebon-sur-Yvette (France), MJC Bobby Lapointe
Oct 18 - Liege (Belgium), Cirque Divers
Oct 20 - Brussels (Belgium), Travers

Dec 08 - St.Germain-en-Laye (France), La Clef

Nov 12 - London Jazz Festival, Lansdown House

Nov 27 - Paris (France), New Morning
Dec 05 - Alençon (France), La Luciole [tel:]
Jan 22 - Elancourt (France), venue unknown [tel:]
Jan 23 - Montereau (France), venue unknown [tel:]
Feb 26 - Valenciennes (France), Théatre le Phoenix [tel:]
Feb 27 - Faches-Tumesnil [near Lille] (France), Les Arcades [tel:]
Mar 06 - Jarny (France), Espace Gérard Philippe [tel:]

CHRIS CUTLER with various projects
Oct 17 - Berlin (Germany), Prix Europa [with Shelley Hirsch/Lutz Glandien]
Oct 24 - Bucarest (Rumania), Radio House [Iancu Dumitrescu Orchestra]
Nov 14 - Berlin (Germany), venue unknown [with Lutz Glandien]
Nov 16 - Krakow (Poland), Audio Art Festival [with P53]
Nov 19 - Paris (France), Instants Chavirés [with Tony Buck/JM Montera/JJ Pauvros]

Oct 23 - Paris (France), Theatre Dunois [opening for John Wetton]
Nov 13 - Paris (France), Le Glaz'Art [tel: 140.364.849]
Nov 17 - Paris (France), Peniche 'Le 6/8' [tel: 143.807.454]

And a plug for our Japanese friends...

Oct 16 - Fashes-Thumesnil (France), Les Arcades [info:]
Oct 17 - Brussels (Belgium), Magasin 4 [info: Travers (31) 2.218.1509]
Oct 23 - Göteborg (Sweden), Scandinavian Progressive Rock Festival [info: (46)]

...and a plug for our Kobaians friends:

Oct 20 - Brussels (Belgium)
Oct 21 - Hamburg (Germany)
Oct 22 - Leverkusen (Germany)
Oct 24 - Berlin (Germany)
Oct 25 - Bratislava (Slovakia)
Nov 07 - Torcy (77) (France)
Nov 27 - St.Nazaire (44) (France)
Nov 28 - St.Quentin (02) (France)

* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *

                            END OF ISSUE 107

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

CALYX - The Canterbury Website


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