::                                                              ::
  ::                     - WHAT'S RATTLIN' ? -                    ::
  ::       The Weekly Digest for Canterbury Music Addicts         ::
  ::                         Issue # 160                          ::
  ::                   Monday, August 7th, 2000                   ::
  ::                                                              ::



I guess all those among us who attended the first edition of the Canterbury Festival on July 30th had a great time. Sure, the bands' sets were a bit short, especially Caravan's - no "For Richard" again. But everything else was superb - the park itself, its beautiful natural surroundings, the weather (an excellent surprise after the heavy rain in Canterbury the previous night), the atmosphere... And of course the fact that the festival was a great success, with over 2,000 in attendance.

In my opinion, the music was great, although (a) I wish the "jazzier" end of the Canterbury scene had been featured too; people like Hugh Hopper, Phil Miller, Pip Pyle or Elton Dean were definitely missed (as was Richard Sinclair, but that's another story); and (b) I could have done with a couple of younger bands; this was definitely a 60s/70s festival, a celebration of the glorious past rather than one of new talent.

This being said, we were treated to some memorable moments. Being somewhat unfamiliar with his music, I was pleasantly surprised by Arthur Brown's set. To start with, the all-acoustic line-up, with violin, cello and percussion (yes, no guitar, no organ, no bass/drums!!). And Brown's stage presence was impressive, especially when he walked off stage into the audience during one of the songs and ran around the festival grounds. I also appreciated the fact that Brown paid great attention to the performances that followed his, Colosseum's and Gong's at least. Arthur Brown may be a living legend, but he certainly doesn't behave like one.

I must say I missed most of Man's performance, or at least experienced it as background music, preferring to have a chat with the likes of Brian Hopper, John Murphy or Jan Schelhaas. I did move closer to the stage for Colosseum, though, being something of a fan. Chris Farlowe is back to the fold after Paul Williams replaced him for last year's tour; the others are all still there - Hiseman, Clempson, Greenslade, Heckstall-Smith and Clarke, all in fine form. I wish the set had been longer - due to time constraints "The Valentyne Suite" wasn't played.

It was still day when Gong hit the stage so the general atmosphere was quite different to the usual Gong gig, although Daevid Allen had a lot of delightful UFO stories up his sleeve, and everyone had a good laugh. The sound balance wasn't perfect, with Theo almost inaudible during a particularly wild tenor sax solo - which incidentally followed a fake alto sax solo by keyboardist Gwyo Zepix, who among his many talents is certainly one of the world's best instrument-emulators : he can create the most convincing guitar or sax imitations, and hearing the opening doudouk melody to "Magdelene" you'd have thought Bloomdido was there! Sadly the gig was over much too soon, and "Master Builder" proved to be both the climax and conclusion of the set.

Caravan took more time setting up, so it was finally dark by the time they appeared on the stage, so you *did* get the expected impression that they were headlining. As mentioned earlier, they did however get the same treatment as everyone else - the gig was just over an hour long. Too bad since, in spite of rumours that they'd only had very little time to rehearse, the band were as tight as ever. The set was largely made up of oldies, with only "Liar" representing the latest studio effort, "The Battle Of Hastings" from 1995. So we got "Grubby Little Oik", followed by the inevitable (& enjoyable) "Memory Lain Hugh" / "Headloss", the Dave Sinclair-arranged medley (a 15-minute piece mixing excerpts of "Dabsong Conshirtoe", "All Aboard", "Where But For Caravan Would I?", "Backwards" and "A-Hunting We Shall Go" - did I miss anything?), and of course the progressive epic "Nine Feet Underground". Possibly a couple of others too, but I guess that's most of it. Doug Boyle was the star of the show - his solos in "Nine Feet..." were superb, although more Doug means less Dave Sinclair (who premiered a new lead synth sound to replace his trademark fuzz organ, with mixed results)... Geoff Richardson was a bit too quiet, with more of a "guest star" attitude compared to the late 70s period when he did all the talking between numbers and was actually the band's frontman. His viola solo on "Backwards" was a treat, though. All in all, a great performance, thankfully captured on film and tape as the whole festival was, with plans for a CD/video release later this year.

Congratulations to Mark Powell and his efficient and friendly crew for organising this festival. The second edition will take place on July 14th, 2001 - write that down in your diaries! Longer sets and a few more food/beverage stalls and everything will be absolutely perfect!



From: "Simon Knights" <simon.knights@tesco.net>
Subject: Calyx redesign
Date: Sun, 30 Jul 2000 08:10:36 +0100

Hi Aymeric,

Just thought I'd say that I like the new look to your Calyx Website - I particularly enjoyed the comments from the Musicians and Fans about what 'The Canterbury Sound' really is - some interesting insights there I think.

The general concensus seems to be that it is about people and not about the place - the place just happens to be Canterbury but could have been anywhere perhaps - although I did think that Richard Sinclair's observations very good - that it is Canterbury up to a point - the English Tonalities (thought that was a band !) that he sang up to the age of 16 perhaps could have been in any English town (especially a Cathedral town) and yes, there is a large mixing of different people, different cultures, different accents, different ideas so I guess that it is as a 'meeting place' that Canterbury has really had its influence.

Well, if you are in Canterbury these days (and I am almost every day) you will see big differences in the town centre - much of the 1960 building is being demolished a new buildings (hopefully more sensitive to the ancient surroundings) are going in place.

By the time you read this you will have been to the Canterbury Sound Festival (and I write this on Sunday July 30th at 8am !) and I shall have been there to, so hopefully we have met and said 'hello, hello'.

One again, enjoyed the new design - keep it up !!

Simon Knights,
Bridge, Near Canterbury, Kent.


From: Frank van den Elzen <octafish@rcn.com>
Subject: "Henry Cow Monster"
Date: Mon, 07 Aug 2000 09:33:49 +0000

> My only suggestion to further this, as has happened with various
> musicians I like, is to up the ante to a 5CD set or better yet,
> a 10CD monster.

I would buy if it was the only option to get certain recordings, but I'm not sure if a 10 CD box set is the way to go. Big box sets seem very appealing to the hardcore fan, but will be rather daunting to the casual Henry Cow appreciater. My experience is that these type of releases are often more anticipated than actually bought. The Zorn Parachute years is a good example of this effect; the original albums were highly sought after, but when all three albums plus a bunch of previously unreleased material was launched in that very attractive box, sales were disappointing. Now Tzadik is cracking open the boxes and is trying to sell them separately. Even the Revenant Beefheart set, or 10 CD LAFMS box, are slow sellers.

I guess Chris Cutler is aware of the response to multi-disc sets. Recommended is soon releasing a limited edition 5 CD Faust box, but the individual discs will be released later. Good on yer!

I like how Cuneiform and Voiceprint are taking on the release of Soft Machine live stuff. There's always something new to look forward to... and when a disc is not distinct enough I can choose to skip it.

...and how often are you taking one of those monsters of the shelf? I alwasy seem to forget if it was disc 7 or 9 that I liked best. Also, I noticed that I play those wonderful Ornette Coleman Altlantic albums not as often as I'd like to, after I exchanged my albums for the Beauty Is a Rare Thing box.

my two cents,
Frank van den Elzen


From: Gary Davis <artshop@artist-shop.com>
Subject: Canterbury related news
Date: Mon, 31 Jul 2000 11:15:23 -0400

Hi, folks:

The latest Artist Shop newsletter is out and you'll find it in its entirety at <http://www.artist-shop.com/news.htm>. Here are a few snippets of interest to Canterbury fans.

Available again on our Linden Music page <http://www.artist-shop.com/linden>

Kit Watkins/Thought Tones Vol. 2
Many of you have tried to get Kit Watkins Thought Tones Volume 2 only to find it no longer available.  But that has changed! Out of print for over 5 years and available again in this remastered Millennium Edition. An ambient classic!
soundbite - <http://www.artist-shop.com/linden/tones2.ram>

Available now from the ESD/Northside/Omnium group
Henry Cow & Slapp Happy/In Praise of Learning (Original Mix)
"In Praise of Learning" represents one-half of the short-lived merger between Henry Cow and Slapp Happy. The record makes strong use of Dagmar Krause's extraordinary voice, with lyrics that mix apocalyptic despair with calls for class action. This new edition presents the original mix as presented on its first release in 1975, and includes an 8 page color booklet continuing the Henry Cow story. IPOL also includes guitarist Fred Frith, drummer Chris Cutler, bassist John Greaves, Tim Hodgkinson on keyboards, Lindsay Cooper on woodwinds, plus Slapp Happy members Peter Blegvad (guitar, voice) and Anthony Moore (piano).
soundbite - <http://www.artist-shop.com/esd/learning.ram>

Newly released from Chris Cutler's ReR/Recommended
Jack Vees/The Restaurant Behind the Pier
Many musicians use the phrase "extended techniques" as a catch all phrase for playing in an experimental or outside context, but Jack Vees, bassist for Forever Einstein, truly embodies it; and it perfectly describes his playing on this album. The term applies to situations wherein an accomplished musician begins with conventional playing methods and uses them as a foundation upon which to build. Vees extends standard bass technques in order to create new sounds and expand both the sonic range of his instrument and his own musical vocabulary, as well as the musical function of the bass. While not ignoring the customary method of playing the electric bass, Vees frees himself (and his instrument) from the usual constraints and limitations by using ashtrays, rubber mallets and bows to cajole a variety of sounds from the strings.  The entire CD, "The Restaurant Behind the Pier", is solo bass guitar.  There are some cuts which are overdubbed, but nothing more than what can be done live with a looper (JamMan or Digital Echoplex). While the majority of this album is original compositions, Vees also works his magic on three rock tunes, John Lennon's "I Want You (She's So Heavy)", "Manic Depression" by Jimi Hendrix, and "As You Said," a tune by legendary bassist Jack Bruce.
soundbite - <http://www.artist-shop.com/rer/pier.ram>

New releases (lots of 'em!) from Voiceprint
Slapp Happy/Camera
Slapp Happy were formed in Hamburg in 1972, with Dagmar Krause on vocals,
Anthony Moore on guitar, vocals and keyboards and Peter Blegvad on guitar
and vocals. They signed to Virgin Records in 1974, releasing their debut
Slapp Happy (itself a re-record of Casablanca Moon) and then teaming up with avant rockers Henry Cow for Desperate Straights. The following year the collaboration produced In Praise Of Learning, causing the band to implode, with Blegvad being fired, Moore leaving and Krause remaining as vocalist for further records and tours. Slapp Happy reformed in 1982 to release a single and play one date at London's ICA. In 1990, the trio reformed when Blegvad and Moore were commissioned to write an opera, Camera, which was broadcast on television in 1993. This saw Dagmar as a lone individual figure struggling against the nightmare of bureaucratic intrusion. By 1998, Geoff Travis' Banana label issued Ca Va,with distribution through Branson's V2. This garnered widespread praise, being described as a cross between Portishead, Yoko Ono and the Canterbury Sound. This release of Camera includes previously unreleased material from Blegvad, Moore and Krause alias Slapp Happy. Remastered, with specially designed artwork overseen by Peter Blegvad.  Other featured musicians include The Balanescu Quartet, Terry Edwards and Kate St. John.
soundbite - <http://www.artist-shop.com/voiceprt/camera.ram>

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.
soundbite - <http://www.artist-shop.com/voiceprt/magick.ram>

Anthony Moore/Flying Doesn't Help
Anthony Moore began his career working in experimental film and music, releasing two avant garde solo albums in the early 70's. When Polydor Germany refused to release the third project, he teamed up with Dagmar Krause and Peter Blegvad to form Slapp Happy, whose debut album 'Sort Of'
was released in 1972.  After two years collaborating with Henry Cow and Virgin, the band imploded and Anthony embarked on an erratic solo career. 'Flying Doesn't Help' was originally released in 1979 and includes contributions from Peter Blegvad and Laurie Latham. Two further albums followed, 'World Service,' in 1981 and 'Only Choice,' in 1984. Anthony began to write lyrics for Pink Floyd after Roger Waters left.
soundbite - <http://www.artist-shop.com/voiceprt/flying.ram>

Future releases from Voiceprint and associated labels
Keith Tippett with Mujician and the Georgian Ensemble/The Bristol Concert  For over twenty years Keith Tippett has been at the forefront of contemporary European jazz and new music. Keith has been a solo pianist,
composer, bandleader, band member and musical educator. Mujician is Keith
Tippett's most successful improvising group, joined for this project by Julie Tippetts, formerly known as Julie Driscoll. This recording took place at St. Georges, Brandon Hill, Bristol on June 1st 1991, as part of The Bath International Music Festival.  The Georgian Ensemble are eleven musicians, who feature, trumpets, saxophones, guitars and vocals.   Featured here are selected pieces which Keith had written over the previous 15 years. They are compositions that would give the ensemble enough structure to feel secure in, but enough freedom to fly away from if the spirit desired.

Anthony Moore/The Only Choice
Anthony began his recording career in the early seventies providing the soundtracks for experimental films. Along with Dagmar Krause and Peter Blegvad he went on to form the group Slapp Happy who joined forces with Faust to release their debut album Sort Of in 1972. The band then signed to Virgin and built up a cult following of fans, critics and musicians such as Henry Cow and Robert Wyatt.  Anthony left the band in 1975 and pursued an erratic solo career, releasing Out on Virgin in 1976 and Flying Doesn't Help in 1979 and World Service in 1981 on Do - It.  The Only Choice was originally released in 1984, on Parlophone and was to be Anthony's final solo album. The track No Parlez was later covered by Paul Young and when Roger Waters left Pink Floyd, Anthony began writing lyrics for the band. The album was produced by Laurie Latham (The Stranglers, Echo & The Bunnymen, Paul Young ) and featured musicians include Dagmar Krause, Marc Feltham and Kate St. John.

Now, on to future import releases which you'll find at

Superb 21 track, 2 CD anthology of one of the most innovative, progressive bands of the late sixties/early seventies and leading lights of the Canterbury scene. Features a chronological guide to their career from the first album through to their latest work. Includes previously unreleased tracks, 'A Day In The Life Of Maurice Haylett), 'Golf Girl' (alternate version) and for the first time, the full length version of 'Love To Love You (And Tonight Pigs Will Fly)'.

A trip through the years with the magical Gong and Daevid Allen (Soft Machine). Featuring rare and unreleased material from 1964 to the comeback at Glastonbury 1998. Features bonus CD of Daevid Allen with Mothergong, 'The Owl And The Tree'. Includes guests Kevin Ayers and Soft Machine.


                          Gary Davis
The Artist Shop                              The Other Road
http://www.artist-shop.com          artshop@artist-shop.com
phone: 877-856-1158, 330-929-2056       fax:330-945-4923
     Artist Shop Radio <http://www.artist-shop.com/radio>
       Check out the latest Artist Shop newsletter at


From: neato@pipeline.com
Subject: Ray Russell
Date: Sat, 29 Jul 2000 10:17:12 -0400 (EDT)

[In WR#159, Roger Farbey wrote:]
>Ray Russell, one of the great but under appreciated jazz/rock
>guitarists of the 1970's has had one of his albums re-released
>this year. 'Ray Russell Live at the ICA' is the title

Columbia UK re-released 3 Ray Russell CDs in 1999 : "Turn Circle" (1968),
"Dragon Hill" (1969) and "Rites and Rituals" (1971)... The last features
Harry Beckett and Nick Evans...



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

        [for more info : check out the 'Concerts' page of CALYX]

==> DAEVID ALLEN / UNIVERSITY OF ERRORS <================================

Aug 08 - NEW HAVEN (CT), Tune Inn / Aug 09 - NEW YORK (NY), Knitting Factory / Aug 10 - WASHINGTON DC, Metro Cafe / Aug 11 - NELSON (OH), Strange Daze Festival / Aug 12 - CHICAGO (IL), Schuba's / Aug 13 - MILWAUKEE (WS), Shank Hall / Aug 15 - ROCHESTER (NY), Bug Jar / Aug 16 - PITTSBURGH (PA), Mr. Roboto / Aug 17 - PHILADELPHIA (PA), Khyber Pass (56 S. 2nd Street) / Aug 19 - HOBOKEN (NJ), Maxwell's

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

Oct 11 - LONDON, Shepherd's Bush Empire / Oct 12 - WOLVERHAMPTON, Wulfrun Hall / Oct 13 - MANCHESTER, University (The Main Debating Hall) / Oct 14 - GLASGOW, Renfrew Ferry / Oct 15 - CAMBRIDGE, Junction / Nov 17 - Chiddingfold Club / Nov 25 - PARIS (France), Le Bataclan

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

==> GONG <==============================================================


Sep 01-03 - Planet Earth Festival (near Cheddar, Somerset)


Sep 06 - SAN DIEGO (CA) / Sep 07 - LOS ANGELES (CA), Knitting Factory / Sep 09 - SAN FRANCISCO (CA), Great American Music Hall / Sep 12 - EUGENE (OR) / Sep 13 - PORTLAND (OR), Berbattis Pan / Sep 14 - SEATTLE (WA) / Sep 15 - VANCOUVER (Canada) / Sep 17 - SALT LAKE CITY (UT) / Sep 19 - DENVER (CO), Blue Bird / Sep 20 - LAWRENCE (KA), Bottleneck / Sep 22 - MINNEAPOLIS (IN) / Sep 23 - MADISON (WI) / Sep 24 - CHICAGO (IL), House Of Blues / Sep 26 - CLEVELAND (OH), Odeon / Sep 27 - COLUMBUS (OH) / Sep 29 - WASHINGTON DC, Black Cat / Sep 30 - NEW YORK (NY), Knitting Factory / Oct 01 - PHILADELPHIA (PA), Trocadero / Oct 03 - BOSTON (MA), Middle East / Oct 04 - MONTREAL (Canada) / Oct 05 - TORONTO (Canada), Lees Palace / Oct 07 - ANN ARBOUR, Prog Festival

+ possible dates: Brazil, Chile and Argentina [early September]


Oct - Germany, France, Scandinavia [tbc]

Oct 17 - VERVIERS (Belgium), Spirit of 66 / Oct 18 - MODENA (Italy), Vox / Oct 19 - ROME (Italy), Palacisalfa / Oct 20 - TREVISO (Italy), New Age / Oct 21 - RIMINI (Italy), Velvet / Oct 22 - FLORENCE (Italy), Tenex / Oct 27 - WINTERTHUR (Switzerland) [nr Zurich), Gaswerk / Nov 04 - ATHENS (Greece), Radon Club [tbc] / Nov 05 - SALONIKA (Greece), Mylos [tbc]

Nov 20 - LONDON, Hackney Empire / Nov 22 - SHREWSBURY, Music Hall / Nov 23 - WHITLEY BAY, Dome / Nov 24 - ABERDEEN, Lemon Tree / Nov 25 - GLASGOW, Renfrew Ferry / Nov 26 - EDINBURGH, Liquid Rooms / Nov 28 - SHEFFIELD, Boardwalk / Nov 29 - CAMBRIDGE, Junction / Nov 30 - NORTHAMPTON, Roadmenders

Line-up: Daevid Allen, Gilli Smyth, Mike Howlett, Theo Travis,
         Gwyo Zeprix, Chris Taylor + Didier Malherbe [on selected dates]

==> HUGH HOPPER BAND <===================================================

Sep 16 - ROTTERDAM (Netherlands), Dizzy / Sep 18 - BREDA (Netherlands) (tbc) / Sep 19 - AMSTERDAM (Netherlands), Bimhuis

No appearance in Compiegne (France) as initially planned.

Line-up: Hugh Hopper (bass), Frank vd Kooij (sax),
         Robert Jarvis (trombone), Oscar Schultze (drums)

==> MAGICK BROTHERS <====================================================

Aug 26 - FESTIVAL EN STOCK, Les Amis de l'Epouvantail (near Le Puy)

Info: +33 (0)471 089151

==> MUJICIAN <===========================================================

Aug 26 - MULHOUSE (France), Festival of Jazz & New Music

Line-up: Keith Tippett, Paul Dunmall, Paul Rogers, Tony Levin


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

==> BILL BRUFORD'S EARTHWORKS <==========================================

Sep 01 - Reading, Jazz Club /  Sep 08 - Birkenhead (Wirral), Jazz Festival / Oct 05 - Poole, Arts Centre / Oct 10 - Birmingham, Midlands Art Centre / Oct 15 - Stirling, Cowan Theatre / Oct 16 - Aberdeen, Lemon Tree / Oct 19 - Arnold [nr.Nottingham], Leisure Centre/Bonington Theatre / Oct 20 - Wakefield, Sports Club / Dec 09 - St.Albans, Red Note

==> FAUST <==============================================================

Oct 26 - NORTHAMPTON, Roadmenders / Oct 27 - WOLVERHAMPTON, Wulfrun Hall / Oct 28 - MANCHESTER, University / Oct 29 - NEWCASTLE, Whitley Bay Dome / Oct 30 - GLASGOW, The Old Fruitmarket / Oct 31 - LEEDS, Irish Centre / Nov 03 - LONDON, Royal Festival Hall

==> HAPPY THE MAN <======================================================

Aug 18 - TOWSON (MD), Recher Theatre / Aug 19 - FALLS CHURCH (VA), State Theatre

Line-up: Stanley Whitaker, Frank Wyatt, Rick Kennell,
         Ron Riddle, David Rosenthal

More info: http://www.happytheman.com

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

Sep 20 - LONDON, Royal Festival Hall / Sep 21 - NEWCASTLE, Whitley Bay Dome / Sep 22 - GLASGOW, The Old Fruitmarket / Sep 28 - FRANKFURT (Germany) [tbc] /  Oct 27 - LA ROCHE s/YON (France) / Oct 28 - LE MANS (France) / Nov 04 or 05 - AMSTERDAM (Netherlands) [tbc] / Nov 17 - LYON (France) / Nov 18 - MARSEILLE (France) / Nov 23 - MULHOUSE (France) / Nov 24 - NANCY (France) / Nov 25 - VITRY-LE-FRANCOIS (France)

==> PORCUPINE TREE <=====================================================

Oct 02 - LILLE (France), Aeronef / Oct 04 - COLOMBES [nr.Paris] (France), Salle de Spectacles de la Ville / Oct 05 - CLERMONT-FERRAND (France), Cooperative de Mai / Oct 06 - MULHOUSE (France), Le Phoenix / Oct 07 - STUTTGART, Filderstadt Filharmonie / Oct 09 - BYDGOSZCZ (Poland), Astoria Hall / Oct 10 - KRAKOW (Poland), Wisla Hall / Oct 11 - PRAGUE (Czech Republic), Brumlovka Sky Club / Oct 13 - TRIER (Germany), Messeparkhalle / Oct 14 - DEN BOSCH (Netherlands), Maaspoort / Oct 16 - BRISTOL, Colston Hall / Oct 17 - LEEDS, Town & Country Club / Oct 18 - GLASGOW, Barrowlands / Oct 19 - MANCHESTER, University/"Hop & Grape" / Oct 20 - NORWICH, University of East Anglia / Oct 21 - LONDON, Hammersmith Labatts Apollo

All these dates are in support of Dream Theater except Oct 19

==> PRESENT <============================================================

Sep 30 - WURZBURG (Germany), AKW / Oct 19 - POITIERS (France), Confort Moderne / Nov 01 - ANVERS (Belgium), Monty
+ dates to be fixed: KLAGENFURT (Austria), Verein Innenhofkultur / TRIESTE (Italy), Teatro Miela Reina / SZCZECIN (Poland), Kana Theater

Line-up: Roger Trigaux, Reginald Trigaux,
         Pierre Chevalier, Keith Macksoud, David Kerman

==> SUPERSISTER <========================================================

Aug 16 - DELFT (Holland) / Sep 01 - SAN FRANCISCO (CA), Progfest

Line-up: Robert Jan Stips (keyboards/vocals), Ron van Eck (bass),
         Sacha van Geest (flute/vocals), Marco Vrolijk (drums)

More info: http://www.pingnet.ch/stips


                           END OF ISSUE 160

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

CALYX - The Canterbury Website


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