::                                                              ::
  ::                     - WHAT'S RATTLIN' ? -                    ::
  ::       The Weekly Digest for Canterbury Music Addicts         ::
  ::                         Issue # 111                          ::
  ::                  Sunday, November 22nd, 1998                 ::
  ::                                                              ::


From: Canterbury Musicians Server <mail@musart.co.uk>
Subject: Digital Bootleggers
Date: Mon, 16 Nov 1998 23:24:54 +0000

Hello Aymeric and Friends,

This follow-up message from ELTON DEAN is for inclusion in the next Canterbury Music Newsletter please.

The following fax was received from Elton on 12 November


Re: Aymeric's letter  [see below - A.L.]

I'm not angry at genuine fans of the music - of course I'm not - but I can see the possibility of an escalation of the situation to the point where copyright can be abused and I'm making my point before it does.

As regards the Ogun material - lobby Ogun for CD release - Hazel Miller needs to be reminded of these things. In the meantime I have pristine vinyl for Ely Rabin if he cares to get in touch with me :-

Happy Daze
Oh for the Edge
Bologna Tapes

Yours Elton
7 Farleigh Rd
Stoke Newington


[The following is what I had written (on 29 Oct 1998) to Mark following his message in WR - A.L.]

>Dear Mark,
>To be honest, I don't completely agree with you or Elton in the case in
>point, but maybe you will be able to give me your detailed opinion.
>The guy in question was talking of records by or involving Elton that are
>presently unavailable in any form - they have not been reissued on CD, and
>vinyl versions are only available at prohibitive prices when you're lucky
>enough to come upon a copy in a second hand shop.
>When there is no alternative, what should a fan of Elton do - wait for
>years until it's finally out on CD, officially ? I for one think that when
>a proper reissue appears, with cleaned-up sound and possibly bonus tracks,
>these guys will buy it AGAIN. Or I think it's safe to assume so.
>CD-Rs made from vinyl records are just an updated version of private tapes.
>I admit to having several of Elton's albums on tape made from vinyl source.
>Because I wanted to know these recordings - I wouldn't have heard them yet
>if I had waited for a reissue to appear.
>Now of course there's a possibility that some guys will try to SELL CDs
>made from vinyl or, even worse, sell bootleg CD-Rs made from official CDs.
>That, of course, must be stopped.
>But when it only concerns a guy exchanging tapes or CD-Rs of stuff
>unavailable commercially, I don't think you or Elton should get that angry,
>unless of course you're aware of things that I'm not aware of.
>The same thing could be said of Pip Pyle's "Equip'Out" album - should it
>become available on CD in the future, there are many of us who will be
>happy to discard their hissy and scratchy tape recordings in favour of the
>digital version.
>Let me know what you think.
>Best regards,


From: AMathes737@aol.com
Subject: Steve Feigenbaum's response to my open letter
Date: Wed, 18 Nov 1998 20:40:34 EST

As you might suspect I was well aware (before I wrote my letter) of many of
the points Steve made in his response. I am fully aware of the lack of
possibility that Hatfield will ever record again.  I know Dave Stewart wants
to revamp pop songs, not play jazz. I know these guys don't always get along.
I know Stewart did Pip's song to offer support. Yeah, I know all that.

I was using this argument as an attention-getter to make a larger point which
is actually supported by Steve's recounting of his record sales. We, the
Canterbury record buying public, are most interested in buying two kinds of
Canterbury product:

1) out of print, seminal work from the main originators of "Canterbury" music e.g. Elton Dean's JUST US, Alan Gowen's BEFORE A WORD IS SAID, Live Soft Machine- Is that a surprise to anyone (ever try to buy JUST US on LP - impossible)?  What you have here, as you well know Steve, is pent up demand. And God Bless YOU for filling that demand and giving us even more with the extra tracks and fresh liner notes and attention to detail. Of all the re-issuers you are the most moral! Without a doubt!  What most buyers would agree upon is that we don't need barely listenable recordings of teenaged main originators of Canterbury music doing covers of James Brown songs or whatever. Or, what the hell is "Garden of Love" with Kevin Ayers and Robert Wyatt. Why aren't you guys talking THAT one up? Could it be unlistenable dross?  Perhaps, if not, please inform because I didn't buy that one. But Steve is right when he says I bought  another VOICEPRINT doozy OUT by Anthony Moore. He knows this because I bought it from HIM along with Mind in the Trees by Elton Dean, John Greave's Bottle Of Laundry and Sophia Domancich's new CD, (Thanks Dave Stewart for NOT playing on the Hatfield reunion or I would never have heard this wonderful JAZZ pianist - she made that reunion New and Stimulating for me. So Steve, if you're going to breach Customer-Vendor privilege you might just as well have given them the whole order! It shows that I DO buy new material by these artists. Which brings me to my next catagory of what Canterbury buyers want, and incidentally why I
bought Anthony Moore's UP from you. I so enjoyed the NEW Slapp Happy CA VA ,
especially A. Moore's material that I was curious about some of his earlier work. You see, good new recordings stimulate sales of old (and bad, in this case) recordings of the same artist. Eureka!

2) Substantial new music from the main originators of Canterbury. e.g.-Shleep by Wyatt, RSVP and Caravan of Dreams by Richard Sinclair, the new Phil Miller. If Dean and Hopper don't sell as well it's probably because they over-record and record buyers perceive some their CD's as lacking in quality. Am I right? Maybe not. But I've been listening to this music as long as Steve has and I will always want the original Hatfield over the derivative Muffins (one of Steve's groups). I'll take Seven Year Itch over the Wilde Flowers recorded in a subway tunnel on their way to a sweet sixteen party. You want to spend your money on that, be my guest. I'll wait for Richard Sinclair to scrape up some backing for a new effort. It might take a while if all of you keep supporting some of these awful reissues. Real fans know which ones are awful and which labels put them out just for easy money over investing in new music. So, yes Steven, you're right. I know it's a business. But none of you are the next Richard Branson are you? But, wait a minute, didn't he start with Oldfield, Gong, Hatfield, Henry Cow and Kevin Coyne?  Seems to have worked out for him. Strange world.

Allen Mathes

[A couple of days later, Allen sent the following addendum to his message:]

Two afterthoughts concerning my response to Steve's letter.

1. I didn't mean to (seriously) imply that Steve was breaching any confidence by saying I bought certain items from his excellent mailorder service, all of this is in good fun, and I've been a loyal customer of Wayside for over 15 years! (God, is it that long, Steve?) and will continue to be. Truth to be told, Steve has done alot to keep this music on the map even  when there was no internet and all of us thought we were the only ones  out there who cared about this stuff! So, just know that Steve and Wayside are the good guys.

2. I think that discussing why people buy certain product is important. As the debate over taping and the stern words from Elton Dean and Mark Hewins indicate, this is some peoples' way of making a living.  We have to respect that. And as Chris Cutler is indicating, we true fans want to help, not hurt, the musicians.  We should support them in ways that will help them. And, the point of my light-hearted treatment of a serious subject with Steve is that we should support new work by these artists and be more suspicious of re-issues that seem to exploit  the past rather than encourage future creative projects. Fair enough? Having said all that there is nothing more satisfying to a fan than seeing this music continue to thrive, not just as an ARTIFACT but as a living ART.  So go buy all of Steve's noble new releases. You could do alot worse (as I hope I've demonstrated).


From: Roger Farbey <mmr@easynet.co.uk>
Subject: Reissues
Date: Thu, 19 Nov 1998 13:09:31 +0000

Dear Aymeric

Re: Steve Feigenbaum's posting and your comments about re-issues (WR # 110). I think the reason re-issues become so popular is that record companies so quickly delete albums of a 'specialist' nature ie, non-mainstream. Jazz and prog-rock are definite victims of this enthusiastic culling policy. This therefore fuels a massive demand by collectors and enthusiasts for these deleted items. Unless the fans actually die waiting in the interim period period between the original release and the eventual re-release, they will then all presumably buy these albums either again (because their vinyl copies are scratched to bits) or because they never had the opportunity to buy it in the first place. This backlog, I imagine, creates an initial but heavy demand once the re-release takes place.

My comments are these.
I don't believe that the relatively higher level of re-issue sales is such a bad thing because it must surely generate continued interest in the artist and his contemporary work, if only for purposes of comparison.
If record companies didn't delete things so quickly there would not be such a re-issue sales bias.
Speaking as a consumer, I believe that re-issues do not discourage people buying contemporary recordings by artists in addition to their re-released material.

As a case in point which may be interest to WR readers, trumpeter/composer Ian Carr has just (two weeks ago) had a double CD issued of two of his most recent albums, 'Out of the Long Dark' (with Nucleus) and 'Old Heartland' (with former Nucleus and Soft Machine drummer John Marshall). This excellent pairing of very fine music is available on the BGO label. A relevant point to note is that in the (new) sleevenotes, it mentions that  'Old Heartland' was deleted almost as soon as it was originally released, which would explain why most Ian Carr/Nucleus fans will either never have heard it before or just never heard of it. Just because a CD is re-released (and I for one can't wait to purchase Elton Dean's 'Just Us' re-release in the UK - we're still waiting here!) doesn't mean it isn't new to many listeners now. Surely, the artists will still benefit from royalties from the re-issues.
But I do take your point about contemporary stuff and, unlike Steve, have managed to purchase Pip Pyle's 7 year itch which has got to be a must for all serious Canterbury fans.

Roger Farbey


From: "philT" <pturnbul@bigpond.com>
Subject: Henry Cow Make Money (shock, horror, probe)
Date: Thu, 19 Nov 1998 14:59:22 +1100

[In WR#110, Aymeric Leroy wrote:]
>I'm sure they all know it would be much easier and
>financially rewarding to reform Hatfield or Henry Cow...

Lord have mercy upon my soul - would a reformed Henry Cow actually make any money? I know that I'd go to see them (if they came to the great southern land) and, I imagine, that there would be quite a few takers in Europe and the US. But a few gigs do not a million make.

And a reformation is such a limiting idea as well, especially when they all seem to be in such fine form - Fred Frith's "Pacifica" is easily the best thing he's ever written (and finer, in many ways, than any Cow piece); John Greaves' "Songs" is absolutely gorgeous late night music; Tim Hodgkinson's "Pragma" is plinky-plonk music at it's best (and so on and so on...)

(On the other hand, Slapp Happy's "Ca Va" is mighty cute as well)


[I didn't say Hatfield or Henry Cow reformations would make them millionaires, but I'm sure they could expect to sell much more records and sell out reasonably big venues, just because of the "cult" status of these bands. I think that's a fact - A.L.]


From: Age Rotshuizen <age@cable.a2000.nl>
Subject: old vs. new
Date: Thu, 19 Nov 1998 11:12:27 +0100

Hello Rattlers,

The previous issue had quite an interesting discussion about the re-release of old material and the release of new stuff by our favourite musicians. I hadn't realized that the (Cuneiform) reissues would sell so much more than the new CDs, simply 'cause I buy them both. IMO there isn't much difference between an old Hopper solo-album and a new Hugh record. They're both equally good, great or briljant, depending on my mood.

Although albums like Virtually and Just Us are among my favourites, I'd like to give a thumbs up for some of the 90s stuff like:

* Hugh Hopper Band - Carousel
* Hugh Hopper - Hooligan Romantics
* Hopper/Hewins - Adreamor
* In Cahoots - Parallel
* Pip Pyle - Seven Year Itch
* Elton Dean's Newsense
* Robert Wyatt - Shleep

As much as I'd like to see more Hatfield material be released, I feel the same about a new Phil Miller record, because it's all high quality to my ears. An example of releasing too much is (IMHO again) the Canterburied Sounds CDs. Most of this material is unlistenable (on the first two volumes there are about 5-6 tracks I can listen too without skipping halfway through). And - of course - it's all "interesting" and "legendary" and I am not opposed to these releases (hey, I buy 'm right?), but I'd much rather get my hands on a CD with new recordings by Hopper, Miller, Wyatt or Dean.

Another thing: why is so much unreleased material surfacing on CD, while a lot of vinyl has never been re-issued yet? OK, I know the deal: there's this record.com that doesn't want to sell rights and stuff, they want to release it theirselves (and they will in 2020). If the guys at Voiceprint can release 4 volumes of Canterbury dust within two months, why can't they re-issue both Coxhill/Miller albums, some ED 70s stuff (they would make Milos happy, that's for sure!), Nucleus, third Isotope, .... [fill in your favourite],


[Coincidentally, while putting this issue together, I'm listening to Isotope's "Deep End" on CD... So it exists! It was reissued by Line Records, but I guess it's now deleted. The first two were also reissued on the same label, but have since been reissued as a 2-on-1 by See For Miles. Regarding Elton Dean's 70s stuff, you may follow his suggestion earlier in this issue! - A.L.]


From: NYLifer@aol.com
Subject: money trees
Date: Thu, 19 Nov 1998 03:17:24 EST

[In WR#110, Chris Cutler wrote:]
>concerning the Robert Wyatt video 'Little Red Robin Hood' (a musical SNIP
>launch in Turin (Robert was there and introduced it) and afterwards
>arranged a special English (no subtitles) version for anyone interested.
>It's available direct from ReR Megacorp for £14. Email credit card order to

How much US?

>megacorp@dial.pipex.com or by regular mail to 79 Beulah Rd. Thornton Heath,
>Surrey CR7 8JG. UK But please note - it's only in PAL format, not NTSC.

Aaaaarrrrgh. Guess I'll have to wait.

>By the way, the copyrights question raised rather forcefully (but
>understandably) by Elton D. [...]
>We don't have to play by business rules (we screw you you try to screw us)
>- it could be done more honestly ? Anybody got any comments or suggestions -
>just to keep the question on the surface.

Absolutely, if musicians are willing to make available HQ audio and/or video
available in a no-frills package direct to the end consumer, everybody benefits.

This year someone on this list did this for a Richard Sinclair performance video. Asking for a check, made out to Richard in return for copies.

So many folks are burning CDs these days at a cost of $1 per disk, I'm sure many here would participate in an organized pay per CD scheme.

Witness Robert Fripp's Collectors Club releases of ancient archived material. Give the people what they want. Couurse it's easy to say. I imagine Fripps level of sales to be higher than we could anticipate here. In fact, Fripp said he needed 1,000 subscribers each in both US and Europe to make the club work. Folks sent in ~$90 for the promise od 6 CDs of old material, at the folks choice.

Good notion, we can start the Canterbury Collectors Club.



From: Michael Rae <raejonnymac@yahoo.com>
Subject: Anthony Moore's "OUT" album
Date: Thu, 19 Nov 1998 06:41:06 -0800 (PST)

Hello Aymeric,

Just wanted to comment a bit in response to the re-issue of 'OUT' by Anthony Moore...I just purchased this album about a week ago, and while it may sound a tad bit 'dated' nowadays, I think that it was a valid re-issue, especially for completists who may have been searching in vain for the original! And it is a bit of a Canterburian-like "curio" with involvement from Kevin Ayers, Andy Summers, Amanda Parsons, David Bedford, and Lol Coxhill's children no less! It's also an early document of the long-standing partnership that Moore and Peter Blegvad still enjoy from time to time. I'm uncertain of this, but was "OUT" a solo release that preceded the formation of SLAPP HAPPY? Also of note is the Production of Peter Jenner; during 1st listen I was struck by how much the production reminded me of the early Kevin Ayers records, 'tho that shouldn't be much of a surprise when you add up all the participants.

As an afterthought I'd just like to say that "Ca Va" has to be my favourite purchase of the year! SLAPP HAPPY has to be one of the most unheard-of and underappreciated 'pop' music outfits to grace the music charts nowadays...I understand that 'Ca Va' has already hit 'out-of-print' status...WOW!!!

In conclusion, it's my opinion that "OUT" really did hafta come out, if only for the odd bunch of historical completists... it's not a BAD album, but please don't compare it to "Ca Va" ; think more along the lines of those early Peter Jenner productions of Kevin Ayers work... the production ambience is certainly similar.

Keep up the EGGcellent work Aymeric!

Mike Rae


From: Julian Christou <christou@as.arizona.edu>
Subject: A Few Comments
Date: Fri, 20 Nov 1998 20:25:27 -0700

Dear Rattlers

Well, I'm finally back and getting settled in and catching up with e-mail etc so to those I owe e-mails to "hi" and you'll be hearing from me soon.

It seems that during my European Sojourn that Elton Dean's "Just Us" was released by Steve F. at Cuneiform/Wayside (Thanks Steve). As the only person I know who has a copy of the vinyl, I was glad to see the CD release. It sounds great. I think that this and Softs "5" make a great double package being released very close to one another originally and I'm sorry I missed the seeing the Softs with this line up when they played at the South Bank I think with Just Us and Matching Mole early in '72 or late '71 I think.  I remember seeing the ads. Unfortunately I believe I was studying for my A-levels at the time.

For the Softs fans who are not aware of Elton's solo recordings, this is the first and starts off with the blistering Ooglenovastrome (a great title and a great track).  The original album (engineered by Eddie Offord more famous for his production with Yes and ELP) ends with Part The Last featuring Elton at thge Fender Rhodes (compare Drop from 5 and the Live In France CDs).  Two tracks, Neo Caliban Grides and Blind Badger were played by the Softs and show up on the BBC CDs. Here they get a diiferent workout and Mike Ratledge and Roy Babbington guest. Also the drums are by Phil Howard who replaced Robert Wyatt in the Softs
(side 1 of 5).  This CD is highly recommended for fans of 5 era Softs and shows Elton's links to free Jazz as well.  Definitely a must album. And thanks to Steve, we also have live bonus tracks, one courtesy of Radio Bremen (remember Virtually) which begs the question of what else exists in the Radio Bremen vaults?  Anyone know?

With the release of the "Elton Dean" album on CD (retitled "Just Us") the unreleased CD's of note are the two Ogus "Ninesense" albums. So does anyone have any idea when Ogun will start adding to their CD releases?

Anyway enough rambling and rattling.



From: TALandon@aol.com
Subject: For WR
Date: Fri, 20 Nov 1998 17:27:08 EST

Dear Aymeric and all,

A quick word to thank everyone for their (public and private) feedback on my "Canterbury selection". I'd like to remind everyone that the albums I proposed were in strict accordance with Aymeric's original request: a 3-album selection to introduce people to Canterbury music and give a broad idea of it. They weren't necessarily my favourites, which tend to change every week - currently: Parallel by In Cahoots, Digging In by Phil Miller and... well, OK, I admit, Rotters' Club by Hatfield and the North.... or Softs 2.... or Angel's Egg by Gong... or the National Health tribute to Alan Gowan... or....).

Which brings me to a major subject in recent Rattlings: are 'our heroes' merely museum pieces or living people as well? OK, I'm summarizing in a violently partisan way, but I must agree with the 'modernists'. During the 70s and early 80s, I was delighted to find and buy a large number of 'Canterbury' and related records. Some I read about in the press, others I just stumbled across in record shops, armed with my fascination with band line-ups and eager to explore further. And then, suddenly, nothing - for the musicians that we appreciate, the line suddenly went dead. OK, so I live in France, but I keep up with the British press and EVERYBODY stopped speaking about them, with the occasional exception of Robert Wyatt when he released a record (to the French nation's great and, for me, undying glory, they really love Wyatt - hell, sometimes I even manage to feel intellectually fashionable because of it).

So I was more than delighted when I one day typed Canterbury into my search engine and ended up here - Ta, Aymeric. I then saw In Cahoots in Montreuil - amazing, a 'Canterbury" band still alive and creating, with large numbers of my favourite musicians and others (notably Fred T.) who have since joined their ranks. And so to my main point: I agree with everyone who supports the new music over the old. These guys have made some of the best music we have ever heard, but the best way to help them to make some more is to give them as much support now as we can. The more they earn, the better the conditions for recording and composing and the more chance we have of seeing them regularly.

Which brings me to the other recent "hot topic": bootlegging and its cousins. I don't have any bootlegs, but maybe only because I've never been offered any. However, my own rule of thumb has always been that I'd rather give my money to Robert Wyatt, Kevin Ayers, Pip Pyle, Phil Miller or even Daevid Allen than to the taxman or the car-park attendant because of the pleasure and discovery they have given me.

Lastly, thanks Aymeric for your answer to the rather abusive mail 2 weeks ago (vaguely about Gong) in which you reminded us that you produce WR free of charge and unpaid. In my opinion, as a demonstration of thanks, we should all buy the Forgas Band Phenomena CD - NOW!.

I've just sent off my order.

Love to all


[Thanks, Tom! - A.L.]


From: Lokizak@aol.com
Subject: The Curse of the Old
Date: Sat, 21 Nov 1998 01:24:46 EST

I couldn't help but be struck by - and saddened by - the frustration evident in Steve Feigenbaum's post. I have to admit to being part of the problem that he sees; I am buying those BBC sessions just like everyone else. At times it seems like I have to fight to stay interested in and find new music and then along comes a band like Present or Finneus Gauge or I finally discover a CD like Richard Sinclair's RSVP and I know the fight is worth it. The late critic Ralph J. Gleason said it best in a televised piece on Duke Ellington. Between sets, the Duke asked Gleason what he wanted to hear in the next set. Gleason's answer was a heartfelt "Duke, I want to hear what you want to play". I hope I can always be listening for and to artists playing what they want to play. I think that is the essence of Canterbury music. People like Steve make that possible and need our thanks and support.

Dick Archbold   


From: Age Rotshuizen <age@cable.a2000.nl>
Subject: Need help for SM discographies
Date: Fri, 20 Nov 1998 14:47:44 +0100

There are still gaps in my Hopper & Dean discographies - and I need some help to fill them. Please mail me if you know anything.

Elton Dean:

* Austin/Dean/Gallivan record on Ogun
* John Stevens - A Luta Continua record on Konnex
* exact rec. dates of: Dean/Wheeler/Gallivan - The Cheque Is In The Mail
* exact rec. dates of: Elton Dean's Ninesense - Happy Daze
* any info about possible Bluesology recordings
* EDTapes (Duos, Trios, EDQ Live)
* rec. dates & location of Three's Company, Two's A Crowd
* rec. dates of Julie Driscoll - 1969
* Heads Hands & Feet - Heads Hands & Feet
* Mike Hugg - Somewhere & Mike Hugg - Stress & Strain
* Intercontinental Express - London
* Reg King - Reg King
* Alexis Korner - Alexis Korner & Alexis Korner - Mr. Blues
* rec. dates of Keith Tippett Group - You Are Here.... I Am There
* Keith Tippett - A Loose Kite in a Gentle Wind / Floating with...
* rec. dates of Julie Tippetts - Sunset Glow

Hugh Hopper:

tracklisting of these radio sessions:
* 16/11/1971, Soft Machine, Sound of the Seventies
* 11/7/1972, Soft Machine, Peel Session
* 17/10/1972, Soft Machine, Sound of the Seventies
* 29/12/1972, Soft Machine, TV Full House
* 16/4/1974, Stomu Yamash'ta & East Wind, Radio One In Concert
* 9/1/1975, Isotope, Radio One In Concert
* 24/6/1975, Isotope, Peel Session
* 13/11/1975, Windo/Monkman/Hopper/Powell, TV Session, Stanley Myers
* 27/3/1984, Dean/Ponzol/Schroeder/Hopper/Gallivan, SWF Radio Concert, Wuppertal, Germany
* 16/11/1987, In Cahoots, Jazz Today Session

* personnel of Daevid Allen - Twelve Selves
* tracks of Anaid - Vetue de Noir & Anaid - Belladonna
* confirmation of existence of Brotherhood - Pride. It should have been
released by Virgin in 1995
* Hugh Hopper And Odd Friends


Other additions and corrections will be appreciated



[May I take this opportunity to note that the Online Canterbury Discography has just been redesigned and updated. A notable upgrade is that it now includes most of the album covers. Rattlers with scanners are advised to contact me if they can help filling some of the gaps. And while we're at it, for recent subscribers, your help in providing the missing information is welcome, so please check out: http://www.alpes-net.fr/~bigbang/cantdisco.html Also new online is a profile/interview of Steve Cook (Gilgamesh/Soft Machine) - A.L.]


From: Jerome Schmidt <artzero@club-internet.fr>
Subject: Japanese Independant Musics book
Date: Sun, 22 Nov 1998 20:55:33 +0200

Hello all,

After hours and hours of work, lots of francs, dollars, and yens spent, last but not least, our book about '90s Japanese Independent Musics' is published and available by December 1st through MUSEA production (they financed the overall project): http://www.musearecords.com
This is the FRENCH version (the ENGLISH one will be available in early 99).
It features more than 500 bands with complete discographies, musical and biographical comments (from 3 lines to a full page!), photographies, and a general introduction as well as dozen contacts indicating where to find the stuff.
The musical field covered are: progressive rock, RIO, canterbury, jazz, improvised musics, japanoise, electronica, zeuhl, avant-rock, postclassical, new musics and psychedelic musics.
INCLUDED: 2 CDs! One features 'the best of Japanese prog rock', compiled by Musea, and the 2nd one features unreleased tracks by famous independant artists such as: Ruins, Soh Band, Bondage Fruit, Hoppy Kamiyama, Haco, Haino Keiji, Furudate Tetsuo, Trembling Strain, etc...
The writing staff consisted of a collective work with people from Big Bang magazine, Improjazz, Octopus, Peace Warriors, Prog' Resiste, Margen, Expose, Rock Style, etc...
All in all the price (the book + 2 Cds) is at 160FF.
We do hope this project will interest you much. To order this book (french edition only by now), email to:
or to: artzero@club-internet.fr

All the best!


From: Jerome Schmidt <artzero@club-internet.fr>
Subject: Peter Blegvad album vs Slapp Happy
Date: Sun, 22 Nov 1998 20:58:21 +0200

Hello Rattlers,

I'm a great fan of last Slapp Happy's album, I can't stop listening to
I received recently new Rer release by peter Belgvad which features two
songs which were also on Slapp Cd 'Ca Va'.
I dunno what's wrong, but Dagmar Krause's voice misses much, even if the
album of Blegvad is really one of my best pick of the year in this
musical field.
Any advice on it?
BTW, the MNEMONIST reissue is very challenging, very interesting to my
ears, by its proteiform diversity, though rather experimental to some
ears maybe...



                            END OF ISSUE 111


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