::                                                              ::
  ::                     - WHAT'S RATTLIN' ? -                    ::
  ::       The Weekly Digest for Canterbury Music Addicts         ::
  ::                         Issue # 152                          ::
  ::                   Sunday, March 26th, 2000                   ::
  ::                                                              ::


                      CALYX WEBSITE - UPDATE

A few words on the new version of the site, now located at:

1) Hopefully a lot of the people whose websites have links to mine read this list, so please, my friends, update the links on your pages! The old site will be down by late April. Please link only this URL since many of the pages have new names/addresses (unless you are sure).

2) Several people have written to inform me that the graphics on the site weren't working, thinking that was a technical problem. It's just that I hadn't had the time to upload them, but this is now done.

3) The website now has a "what's new" page with mainly official announcements from musicians, record labels, and myself (about the site). And don't forget the "concerts" page, which I often update between issues of WR. And of course the many many links to other Canterbury websites.

Thanks for your attention!



Q: This is Gong's first new studio album since 1992, and since you rejoined Gong permanently in 1996. After three years of tours playing only classic material, was there a feeling among band members that new music was becoming an urgent necessity? Is it a recent feeling, or was the project of a new album postponed due to practical problems?

MH: Certainly the need for new structures grew greater the longer we toured. Although it was a pleasant discovery to find how fresh the old grooves felt after all these years - I think that was because much of the music we wrote in those days was designed as structures on which improvisation could be built. I tried to get a new album started in 98, when I went to Strasbourg and jammed with Pierre for a week - we had no  record deal, so the idea was to send ADATs of what we had to Daevid and Gilli and Didier in their various blowholes around the world, and arrive at a new album in this way. However, for whatever reason, what we came up with was patently not it, and as events transpired, it was just as well.  It was when we came back last year having been around Europe, and then the US and Mexico that I felt enthused by the new line-up sufficiently to set about getting a new recording contract. I also felt that the group organisation was not making the most of the potential of our situation and determined to see if a little application, forethought and planning might not make it more viable - to use a little biz-speak.  Each year we went out the audience was getting younger until last year I would estimate the content was something like 65%  20-somethings and younger. With a good new album and a bit of good old-fashioned PR push I felt we could lift the whole level of operation up an octave and, who knows, even make a living out of this!

Q: Collective credits suggest that the creative process that led to the new music was very much based on group jamming and sharing of ideas. Can you shed some light on this? Under what circumstances was the new material generated? In your case, did you bring ideas you had created on your own?

MH: The creative process was very much built on jamming. We spent several days recording jams - just on cassettes and minidisc, and then listened and analysed ideas over a few weeks, and then went back into rehearsal and organised some structures on the ideas we liked. Of course, we all had ideas we brought to the party, some more complete than others, so the album is a balance between these two approaches. And then once we got in the studio we jammed some more - the last track on the album - "Infinitea" - came about entirely as a 'warm-up' jam on the first day of recording. It's probably my favourite piece!

Q: Musically and production-wise, "Zero To Infinity" is a fine mixture of  the classic Gong sound, which in itself is still very current since it's been an influence on a lot of the presently in-vogue techno/electronic scene, and modern-day technology and influences. It seems to me th general intent is to reaffirm Gong both as a founding father of the contemporary scene and as a group that is also able to update its musical outlook according to its environment. What are your thoughts on this?

MH: I don't think the intention was driven by anything more than a desire to create music that felt right. I know this may seem a bit vague, but I did try to do some stuff with Pierre in '98 as a precursor to a new Gong album with the idea of using drum'n'bass grooves, which I love, but it just didn't feel right. Maybe because Pierre wasn't into it or whatever. I just decided for this album to cast all preconceptions to the wind and just enjoy playing - Chris Taylor is such a great groove drummer it was the most natural way to go.

Q: The album features new drummer Chris Taylor. Who, among the many former Gong drummers, do you think Chris is closest to?

MH: Chris is really not like any of the previous drummers I've worked with in Gong - although he has the intellectual capability to play any of the more complex time signatures.  I've always had a slight unease with many of the drummers in Gong because my roots are in Tamla Motown and Soul and in that sense I'm not really a true 'Canterbury' style musician - I don't like oddness for the sake of it and I believe that the first requirement of music is to move you emotionally.  The best thing about Chris is that we feel the groove in the same way - for instance, with Pierre - who is a marvellous technician and a master in his field - perhaps because of his classical training, he was always slightly ahead of the feel to me.  I must stress that this is not to say that he was wrong or that I was right, it's simply a feel thing - Stewart Copeland was the same - but with Chris where the beat lands feels easy and right - I can't describe it any other way.

Q: Daevid is currently the only guitar player in Gong, whereas previous line-ups featured rhythm guitar and synths, which seems to imply a looser  harmonic approach and, perhaps, the possibility of more total improvisation. Is this something you want to explore or will you look for another guitarist?

MH: Although I am ready and willing to go out and jam a whole set, there is an element within the Gong structure which requires a more structured approach, especially when it comes to the theatrical aspects of our live shows, and so, yes, we are looking for a supplementary musician who can cover both guitar and also keyboards - all offers considered!  [Gong have since added a new member - see below]

Q: Can you say a few words about the deal with Snapper Music and the new outlook for Gong in terms of financial support, possibility to tour more often etc.? Would you personally like Gong to become a more permanent group? And while we're at it, do you have any musical projects outside Gong?

MH: This album came about because I was very keen to record the line-up we toured with in 1999. I was so thrilled to be playing with Chris, who has the best feel of any  drummer I've ever played with, that I came back determined to get the wherewithal to make a new album. I called around some friends and contacts  and had quite a few meetings, but I wasn't getting big enough offers to fund what we needed - with Daevid and Gilli both living in Australia they need funds just to live on over here.  I was getting a bit desperate when I got a call from the ex-manager of a band I had produced in the early 80's - a slightly dodgy geezer, but I knew he wanted the money as much as me, so I met the Snappermusic people. What I liked about them was that they had a good catalogue with a lot of bands from our era and therefore knew how to sell to our market.  With the aid of my lawyer of many years, Iain Adam (the indies' friend) we got a fairly tight and roadworthy contract - watch this space in a couple of years time!  I won't go into the points, but it is for three albums with rising advances, so if all goes well there could be more...  I've decided to devote this year to trying to get Gong up to a level of commercial viability which will make it more of a life support system than an expensive hobby.  If it fails I shall be available for weddings, barmitzvahs, college balls - all offers considered!


From: "siouxsie o'neil" <siouxsie@snappermusic.co.uk>
Subject: invitation to GONG Netcast
Date: Thu, 23 Mar 2000 15:16:50 -0000

We would be delighted if you could attend:
with GONG
6th April 2000 8pm Subterania, London

NETCAST BROADCAST: 8th April 9pm GMT @ http://www.onlineconcerts.com

An inter-dimensional toast to welcome in the Zero to Infinity album and European Tour starring Gong and all of the gang from Planet Gong. This remarkable event not only marks the start of the latest Gong tour, but will be a cosmic and colourful event of the virtual and cyber imagination, with transcendental décor by Virtual Bliss and a netcast to capture the full technicolour event on the web, in association with onlineconcerts.com Gong's typically unusual mix of diverse energies creates an intriguing blend of songs and elegant improvising power with a sweet laughing centre that melts all resistance into a magic moment. Trance funk with altitude!  The full current band of Daevid Allen, Gilli Smyth, Didier Malherbe, Mike Howlett, Theo Travis and Chris Taylor will be in attendance as well as the debut of new member "Gwyo Zeprix" (formerly of Zorch) on synths. The gig will be a showcase for new material from the highly acclaimed new album Zero to Infinity but the crew will also be plundering the treasure trove of their 30 year musical history.  Visual Bliss's unique specialist UV art décors create psychedelic environments to embrace music and dancing. Vibrant, 'glowing' colours come to life in a way that intensifies the atmosphere with
scintillating bursts of colour. Their décor has made a reputable name for the group whose décor is used for several leading nightclubs in the UK),
Carnival 2000 (Millenium Eve) and their can even be seen on BBC's Eastenders "E20" club!, they will be decoring this year's Glastonbury Dance Tent.

"Wow! How do I see the Show?...."
To win a pair of VIP tickets for the live show enter the website competition. http://www.snappermusic.com/gong/webpages/competition.htm
Never fear, a front row seat of the extravaganza is guaranteed to all on the Webcast c/o OnlineConcerts, who will be broadcasting every last cosmic detail.  

Broadcast Times 8th APRIL 9pm GMT
The Netcast broadcast may be repeated - check the website for further news!
To view the event simply log on to the URL below and follow the viewing
instruction, kick back, relax....
Radio Gnome is back on air, so tune in and watch your mind go virtual!  


From: Basil Brooks <Basil.Brooks@policymaster.co.uk>
Subject: Here Today Gong Tomorrow
Date: Tue, 21 Mar 2000 10:42:22 -0000

Here's the news:

Keyboard wizard and original Zorch member Gwyo Zepix (aka Howard Scarr) has joined Gong. (Keyboards on 'jeza wined up')

He will be playing with them during their forthcoming UK dates and beyond. This is one event you cannot afford to miss!

Tell your friends and family, but above all come to one of the gigs. I promise you will not be disappointed.

Another old friend David Id will be on the mix.

Here are the UK dates so far:

Thurs 6th April - London, Subterrania. Launch party, 100 tickets only
available via the website
Thur 13th April - Leeds, Irish Centre
Sat 15th April - Manchester, University
Thur 20th April - Southampton, The Brook
Sat 22nd April - Bristol, Fleece & Firkin
Sun 23rd April - Bristol, Fleece & Firkin. 2nd show tbc
Thur 27th April - Exeter, Phoenix Arts Centre

Sun 7th May - London, Hammersmith Palais with special guests
Fri 12th May - Malvern Festival
Mon 29th May - Blandford Festival
Sun 25th June - Glastonbury Festival Avalon Fields
Fri 29th July - Canterbury Festival

Further info at http://www.planetgong.co.uk including
real Audio and MP3's courtesy of yours truly (go to the Kasbah).

New album Zero to Infinity http://www.snappermusic.com/gong

Also in preparation in time for the gigs the long lost Zorch tapes finally released on CD.

Lots of Love and See you all Soon!!


slik-lix, lyrix, linx and pix at the website with 'Added Value'
http://freeaudioplayer.freeservers.com/Honor%20Mar%2017.html - Mayors Honours
http://www.muzikman.com/burbs.html - MusikMan CD Review 16/03/00
http://www.amazingcds.com/ - Front Page Featured CD  14/03/00
http://onlinetvuk.com/12bar/ - Live Webcast - 12 Bar Club - 02/04/00
http://mp3.com/stations/controlfreak - Radio JEZAUK@Mp3.com
on a receiver near you

'jeza wined up' available from the following on-line stores
AmazingCDs, BURBs, Mp3.com, Mudhut, Vitaminic, IUMA, Riffage, MakeitBig,
SoundsBig, UKSounds, PeopleSound, All Beginning to Sound the Same Sound,
and one or two local libraries and shops...
My thanks to the Queen Mum, The Peacemakers, Zorch99, The Haunting AD and
Robin the Rich, plus one or two other nice folks for their assistance.
BentonWorldDomination & Thorn Cottage Industries



From: mdt3 <mdt3@ukc.ac.uk>
Subject: Blind Dog at St. Dunstans
Date: Wed, 22 Mar 2000 22:03:08 +0000

Just a minor piece of news that you may like to put on the website. I live in Canterbury just a few minutes walk from the St. Dunstans area, and in fact walk through St. Dunstans to get from where I live to the centre of the city. Just recently I've noticed a new pub in the area - called the *Blind Dog at St. Dunstans*, no less, and with a reproduction
of the artwork from the Caravan album of that name on its sign hanging outside the front. The pub is very close to one of Canterbury's train stations - the Canterbury West station - and, indeed, any visitors to Canterbury who arrive at that station will find that, if they walk from the station to the city centre, the pub is on the right hand side of the road after they've turned left out of the station road.
I haven't tried the pub myself yet, so I don't know if it has anything else of interest to Canterbury music fans inside - memorabilia, etc. - but if I find out that it has, I'll let you know.

Yours, Matthew Taylor

P.S. Very impressed with the Calyx site which I've visited many times. Thank you for providing such a great site - it is appreciated.


From: Jmaggers@aol.com
Subject: Soft Machine Noisette
Date: Tue, 21 Mar 2000 10:51:52 EST

Dear Whats Rattlin

Managed to get my copy of Noisette on the due day and it fairly rattles along. I now find myself with several live recordings from the 1970-71 era; Paradiso, Noisette, Live 1970 (Blueprint), Proms, The Peel Sessions, Live in Concert recorded 11.3.71, Virtually (Cuneiform), Live in France (2CD set mono One Way Records), and Live in concert Radio 1 recorded 20.7.71 but not broadcast till 2.9.72.

Are there any later day live recordings still in the can because these live albums cover a very short space of time although it must be regarded as during their hey day. I had heard that there are dutch and german radio recordings of concerts around the time of albums 6 and 7. If this is true is there any likelihood of them being issued as CDs in the future. Also is the album of Stevie Wonder covers cut with the Ronnie Scott cohort available on CD?

Jon Maguire

[I asked the question (about possible live tapes of Soft Machine after 1972 waiting to be released) to John Marshall, who replied: "Companies like Windsong are always on to that sort of stuff, so if they exist I'm sure they would have found them. But the BBC just threw away everything - an awful lot, anyway... In a sense, there isn't any desire to do it. No one could be bothered to do it. That's what it is. Everybody's doing other things now".
Please note that the recording date of the second BBC Live In Concert CD is obviously wrong - it should read 1972 and not 1971, as it was recorded shortly after Karl Jenkins joined the band in June 1972. Also, the "Live In France" CD is actually a radio recording for Europe 1, recorded May 5th 1972 at the Olympia in Paris, but not credited as such.
I am not aware of any CD reissues of either the Planet Earth or Rollercoaster albums - AL]


From: marc-andre.bouchard@mrn.gouv.qc.ca
Subject: American tour
Date: Mon, 13 Mar 2000 16:31:32 -0500

Hi everyone!

This one's to all Canterbury musicians who perform gigs everywhere.
There's a growing need on Canada's east side, particularly in Quebec (which feels as a mixed up between Americanities and Europies), to be involved in this eclectic-psychedelic underground culture, which Canterbury scene represents as well. Maybe it is not as lucrative to play here and even the plane tickets could be a bit more expensive, but there is a "bassin" of freak population that is big enough to give the change. As a voice of the Canterbury fans, I would say that we are eager to participate with the ecsatic trance happening your music, more than all kind of music, can realize.  It is more of a counter-culture way.  It seems like, today, the musical industry is an ego trip industry.  The Canterbury scene isn't. We aren't. Let the festivities consume us all in an happening gig here in "Nouvelle France".

Hope to see one of you soon. Or I'll have to go in Europe to seeing and I
will... one day.

Marc-André Bouchard


From: ProgHouse <proghouse@earthlink.net>
Subject: Progfest 2000, September in Los Angeles
Date: Sun, 19 Mar 2000 20:28:47 +0000

Hello and welcome to Progfest 2000,

Here is some important information regarding Progfest 2000 in Los Angeles. Please notice that tickets will go on sale on April 1st. From now on you can book hotel rooms and start planning your trip to Los Angeles. Please check our web site at http://www.progfest.com.

1 - Festival Dates:
Pre-Progfest 2000, August 31st with Spock's Beard + 1 band (location to be announced)

September 1st Friday (3 bands)
September 2nd Saturday (4 bands)
September 3rd (Sunday), CD convention (location to be announced)

2 - Bands:
Banco - From Italy
Kenso - From Japan
Supersister - From the Netherlands
Mona Lisa - From France
Tempus Fugit -  From Brazil
Codice - From Mexico
Note: 1 more band to be announced

3- Venue:
La Mirada Civic Theater (Los Angeles)
14900 La Mirada Blvd.
La Mirada, CA 90638

Directions from LAX:  Take freeway 105 east ; exit  Rosecrans Blvd; take east direction on Rosecrans Blvd ; drive more or less 5 miles on Rosecrans Blvd; make a right on La Mirada Blvd ; the venue is at the corner of Rosecrans Blvd and La Mirada Blvd.

4 - Hotel Information:
Note: You must mention PROGFEST 2000 to get the announced rates.
Red Roof Inn (Buena Park)
$47  per night multiple occupancy
Phone 714.670-9000
Fax 714.522-7280

Holiday Inn (Buena Park)
$65 per night multiple occupancy
Phone 714.522-7000
Fax 714.522-3230

5 - Ticket information:
Tickets will go on sale April 1st. Ticket Prices $65 for two-day pass or $35 each day

Send check or money order to:
Greg Walker
P.O. Box 2034
La Habra, CA 9062
Phone 562.947-1576
Email: progregwalker@sprynet.com

For Credit card orders:
David Overstreet c/o BIS
P.O. Box 65131
Los Angeles, CA 90065
Phone 323.225-3210
Fax 323.343-1925
Email: david.o@newmail.net

General information:
Alex Castro
Email: proghouse@earthlink.net

You all will be noticed as soon as we have more information
Stay tuned for Progfest 2000.
All the best and see you in L.A.


From: Gary Davis <artshop@artist-shop.com>
Subject: Canterbury releases
Date: Sun, 19 Mar 2000 22:57:40 -0500

Hi, folks:

The latest Artist Shop newsletter is out an you'll find it in its entirety at <http://www.artist-shop.com/news.htm>.  Meanwhile, here are some excerpts of interest to Canterbury fans.

On our Voiceprint page <http://www.artist-shop.com/voiceprt> you'll find a whole slew of albums soon to be released including:

Ovary Lodge/Ovary Lodge - For over twenty years Keith Tippett has been at the forefront of contemporary European Jazz and new music as a solo pianist, composer, bandleader, band member and musical educator.  This recording was originally released in 1973 and followed Tippet's critically acclaimed Centipede project, which featured leading members of the English Jazz and Rock scene of the early '70's.  Ovary Lodge is a totally improvised recording, featuring Keith Tippett on piano and zither. Roy Babbington is on Bass and Frank Perry on percussion. Production is by Robert Fripp.

Tim Blake/Crystal Machine - Keyboard player Tim Blake first met various members of Group X (later Hawkwind), at drama school in the late '60's. Tim then moved to France to join Gong, initially as a sound engineer, and then as a member of the band.  Tim Blake's innovative synthesizer and keyboard playing became an integral part of the Gong sound and he featured on three of their most popular albums; Flying Teapot, Angel's Egg, and You. After leaving Gong, Tim formed Crystal Machine, which was a highly elaborate set up of banks of synthesizers and electronic gadgetry combined with stunning laser and lighting effects. Two pioneering albums were recorded and released on the Egg label in the late '70's. These were Crystal Machine and New Jerusalem, and they received high critical acclaim with chart status on the continent.  Tim then became a member of Hawkwind for the Live '79 and Levitation albums, before returning to France to work on solo projects.

Pip Pyle/Equipe Out - Erstwhile member of "The Canterbury Scene", Pip Pyle has played drums with Gong, Hatfield and the North, National Health, In Cahoots, Kevin Ayres, etc. Pip moved to France to join Gong in 1971 and was featured on drums and breakage on Camembert Electrique. This was the album which landed them a deal with Virgin Records. Pip assembled a group of musicians for this project, whose backgrounds included Soft Machine and Gong. As a result Equipe Out is a startling fusion of jazz, rock and beyond.

Tim Blake/Magick - Keyboard player Tim Blake has performed with both Gong and Hawkwind. Tim's innovative synthesizer and keyboard work can be heard on albums such as Flying Teapot, Angel's Egg and Levitation.  Tim Blake formed 'Crystal Machine' in the late '70's which was a highly elaborate set up of banks of synthesizers and electronic gadgetry which was combined with stunning laser and lighting effects. Two albums, Crystal Machine and New Jerusalem followed to much critical acclaim. These albums also held continental chart positions. Magick is a collection of songs and music with a sequencer, keyboard and a microphone.  The recording is live and direct to stereo and was made on a moonlit night in Tim's windmill in Brittany capturing just the magick.

Anthony Moore/World Service - Anthony began his recording career working in experimental film and music. He released two avant garde solo albums in the early seventies. When Polydor Germany refused to release the third project, he teamed up with Dagmar Krause and Peter Blegvad to form Slapp Happy who joined forces with German pioneers Faust to release their debut album in 1972 (Sort Of...). By 1974, the band had signed to Virgin, aquired a cult following of fans, critics and musicians such as Henry Cow and Robert Wyatt. Anthony departed in 1975, whereby Virgin failed to turn him into a pop star. He then signed to cutting edge indie label Do - It, releasing Flying Doesn't Help in 1979 and World Service in 1981. He eventually found more lucrative work writing lyrics for Pink Floyd, when original member Roger Waters departed.  Similar in style to other mavericks like John Cale and Kevin Ayers with many lyrical twists.


                               Gary Davis
     The Artist Shop                              The Other Road
     http://www.artist-shop.com          artshop@artist-shop.com
     phone: 330-929-2056               fax:330-945-4923
            Check out the latest Artist Shop newsletter at


* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
*                            GOOD GIGS...                               *
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *

==> SLAPP HAPPY <========================================================

May 13/14/16/17 & 26/27/78 - Tokyo, Star Pine's Cafe (Kichijoji)
May 19 - Sapporo, Bessy Hall (Sapporo)
May 20 - Kyoto, Kyoto Univ. Seibu-Kodo

Information: Eyewill: tel/fax +81-3-5485-6490

==> JOHN ETHERIDGE <=====================================================

Apr 08 - Jersey Jazz Festival [w.B.Castle, M.Creese, J.Marshall, playing the music of Pat Metheny]
Apr 14 - Norwich Art Centre [Sweet Chorus]
May 21 - Berwick Jazz festival [Sweet Chorus]

==> OZONE QUARTET <======================================================

Apr 8 - Asheville (NC), Stella Blue / Apr 14 - Charlotte (NC), Fat City / Apr 15 - Columbia (SC), New Brookland Tavern [w/Matter>Eater] /  Apr 21 - Baltimore (MD), Cafe Tattoo [w/Shawn Persinger] / Apr 22 - Philadelphia (PA), Doc Watson's / May 13 - Richmond (VA), Hole in the Wall / May 17 - New York (NY), Knitting Factory / May 18 - Middletown (CT), The Buttonwood Tree

Official website: http://www.ozonequartet.com


                           END OF ISSUE 152

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

CALYX - The Canterbury Website


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