::                                                              ::
  ::                     - WHAT'S RATTLIN'? -                     ::
  ::     The Weekly (or so) Digest for Canterbury Music Addicts   ::
  ::                         Issue # 164                          ::
  ::                Sunday, September 17th, 2000                  ::
  ::                                                              ::


                             JUNE 2000

Earlier this year, Market Square Records released "Turn The Lights Down", a live album recorded in 1995 during the UK tour Kevin Ayers did with The Wizards Of Twiddly - these concerts were hailed by many of Kevin's fans as some of the best in this career.

Early last June, I drove to Kevin's home in the South of France to talk about the album and the current state of his career. As you will see, Kevin is quite pessimistic about his future in music these days, however this doesn't mean he's depressed or cynical about it. At the end of our conversation he even asked me to pass on a message to any group of musicians willing to collaborate with him on a serious and professional artistic project that he welcomes any offers!

* * * * *

Q: Let's talk about your new live album, "Turn The Lights Down!". How did you come to work with the Wizards Of Twiddly ?

A: Well it all started at a gig in London where we were both playing. I guess I sort of invited them on to play something, and they, strangely, knew some of my songs, though I'd never met them before. They obviously liked some of my stuff, and they had some knowledge of the music, so they came and played, and it sounded really nice - especially the brass section. And so we got together and we did a little tour, did a few gigs, one of which was the live album. I'm not entirely happy with the sound of it - I think the voice is way too loud, but it seems they couldn't change it afterwards.

Q: It's taken from the mixing desk, I understand, so there was no possibility to remix it?

A: Right. I wasn't happy with the balance... and also, you can't hear the audience at all. Really, all you can hear is... it sounds like two people in the toilet!

Q: So it took a lot of convincing to let you release this?

A: It did, yeah, they went through hell with my track! I made them change it, trying to get the sounds back, take the voice down, and stuff like that. They did some work on it, but there's not much you can change... Things were there as they were, and that was it, you know. I mean, they used some good engineers, and tried to get it together again. But for me, it still isn't right. I mean, it's a nice occasion, but for me it really misses the audience, cause the audience was really loud, you know, and I appreciate it. And for a live album you need that - and you can't hear that at all.

Q: I remember at the time there was talk of more collaboration, a new album and stuff. So why did it fall apart so quickly?

A: It falls apart because no-one is there to organise it. And we're just musicians, you know, we're not businessmen, not organisers. If somebody wants to do it, they can do it, but it takes organisation, so you need some money. You need to rehearse, you need to have a place, that kind of stuff. All the logistics of getting a band on the road or getting it into a concert hall - somebody else has to do that. The musicians can't do that themselves. It's well enough just learning the songs and knowing how to play them well...

Q: But there was, in your opinion, a potential for more...?

A: Yeah, there was... We could have... I have a lot of songs that we didn't do, and could have done... In fact that's my regret, of anything that's been done recently, is that it's all pretty much the same programme, simply because we never have time...

Q: It's not that you don't have new songs...

A: No, it's that all we can do is rehearse the ones we know, one or two days before the concert, and that's it. To get a new programme together, it takes at least a month.

Q: Are you very demanding in terms of the songs being played as you want them to?

A: I'm demanding... in terms of how they should sound, I guess. I'm quite open to suggestions about arrangements, and solos, and this kind of stuff. I'm demanding in that I just want them to sound good! The rhythm has to be right, the tempo... Otherwise, as a boss I'm quite open to suggestions from other people. If they have a better idea than mine, I recognise it, and don't stick to mine because I think it's just mine.

Q: You were talking about the brass section in the band. Do you like to have large line-ups generally? Because you've mostly done solo or duo gigs recently...

A: What I really miss is someone to sing with, one or two other people to do harmonies. Cause so many of my songs have harmonies. And with the last band I had, nobody sang. It's the Belgian band, and no-one was really sort of competent to sing... And that's the thing I miss most. Brass sections I like very much, they always make it more exciting. I mean, basically, any instruments added are good, but they're also more expensive, and you have to pay everybody.

Q: As a player yourself, do you enjoy playing, or do you see yourself as a singer most of all?

A: Well, I'm not really a good enough musician to... I mean, I'm essentially a rhythm guitarist who writes songs. I'm quite good at rhythm guitar, but that's it. I can play bass, and I can arrange things, but... I'm not a musician, basically, I'm a songwriter, singer-songwriter, or whatever you call 'em these days.

Q: You're not interested in the challenge of collective playing - pushing the music to new heights, that sort of thing?

A: Well, I am... I mean, if I did anything ever again - which I doubt I'm gonna do - I would like to have a totally different approach. I'm getting pretty tired of verse-verse-chorus, verse-verse-chorus, you know, that kind of format of songs. And yet I don't like a lot of freeform... I mean, we've done all that, we've been through that with jazz in the early days of the sixties, we did freeform stuff, and frankly, it's pretty boring. It's mainly for the musicians, just to play with themselves, not very interesting for the audience. But certainly I would be into different sounds, you know, a different approach to sound, using technology, but not... I'm not particularly mad about 'techno' sounds. They just sound so mechanical and so arithmetic, you know... They sound like they're played by machines - they're too perfect, the rhythm in particular. There's nothing 'sensual' about it at all...

Q: You've done very little touring lately.

A: Well, I do go to Belgium a lot, also Holland or Germany sometimes, but never more than three or four, maybe six gigs maximum. And it's not really good, you know, you have to work for about a month to make any money in this business. At my level, anyway. I mean, unless you have a hit record and you're getting thousands of pounds a night, then it's OK, but at my level you have to work really hard, work about four or five nights a week for a month, then you make a bit of money. Otherwise you don't.

Q: You haven't released a new album for eight years, that's also a factor...

A: I'm just not interested in doing it. No-one's made me a decent offer. I mean, if someone came up to me and said, 'here's 10,000 pounds, go into a studio and come out with an album'... I would do it. Whatever it takes, you know, to... It's at least a month's work. I mean, you have to be there, and live there... Otherwise...

Q: So it's not a question of being tired with music ?

A: Well, it is as well, because I used to make them for nothing before, basically, just because I was excited about making music and stuff. But you know, it's been thirty years now, and it's not that exciting anymore. I mean, it *can* be, you get in a studio and you create stuff and it's good, that's still exciting, but just turning up for the odd concert here or there, or just going into a studio to make one track, of some old song, it's not very interesting. I mean, I dearly would like to work with some people who are more up-to-date than I am, because basically my stuff sounds pretty old. And that's another thing too, I mean there's not really much market for it at the moment...

Q: You've always had the reputation of not doing your absolute best to "market" yourself...

A: Well, this is not true at all. I have to say this! This is what my management said about me. But the reason I went was because there was no work. It was as simple as that. They didn't say, 'Look, there's a tour to do now', they just said 'Well, there's nothing happening'. So I said, 'OK, I'm going away'. That's the truth of the matter. If they'd said, 'Look, there is a tour coming up', or something to do, I would have done it. That was just their excuse for not being very efficient!

Q: So you did have a strong commitment to the music, always?

A: I certainly did in the early years. I would have done anything I was told to do. It's just that I wasn't told to do enough... It's as simple as that. That's the truth.

Q: What about this song you did on your last album, "Am I Really Marcel"? In the lyrics you seem to acknowledge a tendecy for laziness...

A: Well, I am inherently lazy, I mean, compared to people who get up at five in the morning and work through till midnight, or something like that, yes, I'm lazy. And if I can avoid a job I will avoid it (laughs). Basically I'm a pleasure-seeker, I'm much more interested in having fun than not having fun. And I think anybody who isn't is a fool, basically... But I don't mean that, a) at the expense of other people, or b) I don't mean not doing anything - I don't mean not being useful or contributing to life in general... I have done a lot of work, I've put out a lot of albums, written a lot of songs, and that is not the mark of a lazy person!

Q: What about new songs? Have you written any?

A: Well, I do have songs, but I just don't feel convinced about them. I don't feel that certain about them. When I first started writing songs, nobody could tell me my songs were bad - I would just say 'Fuck you!', 'You don't know what you're talking about'... and we'd do it. Now, if someone doesn't say it's absolutely marvelous to start with, then I just lose interest in it. I guess that's what happens as you get older. Because now I can see so many sides to an argument that I can never argue one convincingly. If someone brings up a point, I say, 'Well, of course, that's right as well'... Whereas when you're young, you have a kind of conviction of youth, and you just believe you're right, you have an ideology and there's a kind of strength in that. A strength through ignorance, if you like. Cause you just don't know about all the other possibilities. But, in a way, that's when you are creative, because the minute you start questioning yourself, you find yourself stuck - on a sentence, or something. 'Are these the right words, am I saying the right thing?'... And then, after a few hours, you've written nothing. Simply because your mind is just questioning whether it's the right thing to say, or whether it's the best way you could say it... As opposed to just writing freely, and letting it go, and accepting criticism or praise, or whatever you get. Because once you start censoring yourself, you're cutting yourself off, every time you get to saying 'This isn't good enough', or 'Somebody will think this is bad'... You're in trouble, basically. Cause you just stop yourself from being creative.

Q: So none of these new songs have been performed live?

A: Well, mostly they aren't finished. I just don't feel that inclined to finish them. Because I don't feel there's any audience for it, so there's no reason to write a song... I guess I come up with ideas simply because I've been a songwriter for so long, I can sit down and write a song now. But I won't necessarily like it, or be interested in it, you know what I mean? It's just sort of, you develop a skill for doing something, like a sport, or something, and you can always do it, you can go and play with a ball, but you don't get excited by it anymore... That's what it is.


From: "Teatse Vogelaar" <vogelaar@bart.nl>
Subject: Richard Sinclair
Date: Sun, 10 Sep 2000 14:23:12 +0200

Hi there,

(I'm the guy who organized the Harlingen Canterbury  Music Festival" some years ago).

In your latest "What's Rattlin'?", you mentioned Richard Sinclair making fine bass guitars for musicians in Friesland, the Netherlands. I'm one of the proud owners of a fabulous frettless bassguitar. Richard bought me a nice fretted (carefully selected) bass in England. He then took it apart completely an unfretted it, still leaving the positions visible. He did a lot of  work making the bass "sing". Mine is a precision neck with Jazzbass pick-ups and body and once I started playing this bass in NEVER touched my original Fender jazz bass again. I now have a bass which sometimes sounds like his. But I know I will never play like him!

If  bassplayers are intrested they can contact Richard by mailing me (vogelaar@bart.nl). I will give the message to Richard.


From: <vsteffensen@sprint.ca>
Subject: Caravan Remasters - Back To Front?
Date: Sun, 10 Sep 2000 14:45:21 -0400

Hi Aymeric

I am eagerly awaiting the release of the remastered Caravan cds. I dearly hope that this means that they will eventually get around to releasing a remastered "Back To Front". I LOVE this album but I can't buy a CD of it anywhere, not even on E-Bay. I thought I heard it was going to be re-released by HTD but that does not seem to have happened. I don't think "Best Of Live" has ever been released on cd, am I correct? Let's hope Kingdom records are OK about releasing this material.

Also, what is Pye's concerns for including some "progressive" material? I would have thought it was mostly "progressive" fans that still buy Caravan cds (new and old) and are the ones that turn up for gigs hoping to get their full "9 feet" so to speak!! In other words "progressive" material is what the market wants. I can't believe that he's still looking for that break through commercial hit single, so what's the problem. Surely trying to be "commericial" and not "progressive" is what did the band in the last time (After the worse by far "Better By Far"). "The Battle of Hastings" was great and I'd certainly buy another cd of that quality, BUT a few 10 minute songs (of the "Proper Job" form) would certainly have made it a classic Caravan album.

Thanks Aymeric and keep up the outstanding and vital work (or is it play?)

Brian (Toronto)


From: jan herwitz <herwitz@hotmail.com>
Subject: How I got Gonged
Date: Mon, September 11, 2000 2:57 AM


It's Sunday, and I still hear some ringing from last night. The club was called The Great American Music Hall in downtown San Francisco. Reminded
me a bit of the old Tavastia Club, maybe a bit fancier.  Only seating
available on the side. I ask myself, we don't have to dance to this all night, do we?

We end up sitting upstairs on the side looking right over the stage! Couldn't have been better. It starts at 9, rather late for concerts around here. The first band was a local SF band, eight-piece, two-bass playing experimental octet. We tried our best to appreciate the originality. An hour later came Kevin Ayers, old and tired looking. I don't think he opened his eyes during the entire 40-minute set. I liked the music, though. If you ever get a chance, look for "July 1, 1974", a live LP with Ayers, Nico, Eno, and John Cale. Really good. He played a couple of songs from that one.

Suddenly, he's off stage, and the guy in the audience with the flying
teapot t-shirt rushes the front of the stage. Why? Again, we can see everything perfect from our perched eagle's lair. The roadies are busily hooking up wires, and one of the "roadies" with a sharp nose and long gray silver hair is none other than Daevid Allen plugging in all his guitar effect boxes. For the record, as a roadie, he was wearing an Elvis Presley t-shirt. Soon after, Riitta is wondering if it's ever going to start, and finally at 11:20, it does.

The last time I'd seen Gong was Pierre Moerlen's Gong, back in the late 70's I think, and once I saw Steve Hillage perform solo as the opening act for Kansas and Electric Light Orchestra. Anyway, there mustn't have been more than 200 people there, but so be it. Probably half of the crowd seemed to know all the lyrics from the Planet Gong stuff for sure.  The newer stuff, I'm not quite sure. This Daevid Allen is certainly a character, though he looks a bit spooky with his shiny sequined jumpsuit, and long silvery hair bailing out across is not-so-young-looking-anymore visage. The music was really tight. Howlett plays really good bass, and the other three musicians were equally as good.

It was super loud, and Gilli Smyth was oohing and aahing in different costumes every fifteen minutes, but watching all this I couldn't help but appreciate the fact that, though I'm nowhere near a big fan, I did get a connection from the event. We were literally 3 meters away from Daevid the whole time (looking down the balcony) and it was great to see the energy and originality and honesty (?) and the talent, and creativity, and even the spell he seemed to cast over the small San Francisco crowd.  It finished at about 1:15am, and Riitta, I, Daevid and the rest were exhausted.

It was at times spectacular to see this performer for the first time. With the changing of all the costumes, it reminded me a lot of early Genesis when Peter Gabriel used to do the same thing in the late 60's/early 70's. Am I intrigued to get their latest CD? Probably not. Would I see them again if they came to San Francisco? Absolutely.

Take care,  Jan


From: alick leslie <alick_leslie@yahoo.co.uk>
Subject: Caravan reissues
Date: Thu, 14 Sep 2000 17:35:18 +0100 (BST)

Hi, Aymeric,

Best news I've heard for ages is the Caravan reissues but I've got a (sad) question for someone in the know.

I still play all the vinyl albums, but bought the Canterbury Tales 2 CD set, so I'm not too keen on duplicating with the Where But For.. 2 CD set. Question is: are the unreleased tracks on Where But For... going to be on the reissued individual albums? If not, I'll probably get the compilation.

And is anyone going to Caravan on the Renfrew Fery in Glasgow? It's a great venue to see a band (especially one I've been waiting since the 70's to get to see).


[It is my understanding that "A Day In The Life Of Maurice Haylett" will appear again on the reissue of the "If I Could..." album. But the 'extended' versions of "Golf Girl" and "Love To Love You" will not be on the "Land of Grey & Pink" since there is enough alternate material (including an alternate version of the former, and the end sequence of "9 Feet" with Dave Sinclair singing lead, plus more - AL]


From: policy.office@mihra.org (Roger Bunn)
Subject: LEWD READ
Date: Sun, 10 Sep 2000 11:55:45 +0100


We would like you to publish this. One reason is because in the last WR you seemed to be hero worshipping Lou Reed... A dumb move if one may so say.

[Thanks for this kind appreciation, but I feel I should point out that there was no artistic judgment implied in my comment. I don't "worship" anyone, not even my musical 'Gods'! - AL]

This is an answer I gave to a question from US Congress Member in regard to MP3..

* * * *

The music industry is the 4th largest in the world. Turning over well over 120 billion dollars a year.

>What do you think of the current Napster and MP3.com controversies
>over here in the States?

(And elsewhere)  I am of the opinon, having been told by US diplos, "There is no such thing as copyright anymore Mr Bunn" in 94, and having not enough money to employ lawyers to research UN documentation on copyright to the extent of which I need. To prove a case against the music industry cartel, that they have transgressed the Spirit  (and law) of UN documentation on Copyright, and misappropriated billions of dollars
so doing in what is basically a "cottage industry" controled by corporate administration (as opposed to creative) wolves.  

I would say that at last the cartel no longer have it all their own way. That the internet will erode all previous legislation, eventually. But the cartel and their minions such as the RAAA? Whom they actually own. Are a strong force, and will thrash about hurting those who confront them, such as MP3... The stuff that is being "stolen" is cartel stuff by cartel artists.. And as far as I am concerned, its no way a theft compared with that purpetrated by the cartel over decades...

Same deal here, in that the cartel and the monopolists of the Music Publishers Associattion itself, are as angry as hell... Hooray for the internet.

And soon maybe the USA will stop asking session musicians to sign "waivers", but to collect their legal rewards... Their recording royalty monies... I have heard stories of people being hung out of windows, trying to collect what recording royalties were due to them from the USA.

Here the Musicians' Union stole all the royalties from the Great Expansion of the music industry. Between 1946 and 1988, when Brussels jumped on their criminal butts, the MU stole, not from the Jaggers or the Eltons (they were protected by managers and their like), but from illinformed and misinformed session musicians, such as I.

Now I am being "asked to prove" I was on a record, just to get back a little of what was stolen. Musicians here have been trapped by time.. No one bothered to keep records, after all, why should we? As far as we were "told", (or not) no royalties were ever due to us?

The recording cartel works in the same way, and they too are responsible  for not telling creative musicians, who were essential to their profits, that they were, under law, due royalties

Maybe it's time that people remembered that?? And broke the chains that those who have made profits by the billion from the poverties of others, mostly creators of the music that "didn't sell" in a "free market" economy..  

The MP3 will assist release creators from cartel market bondage. And its about time too..!

So when one thinks of such classics as Lewd Read's "Walk on the wildside" ;-) One has to remember that the bassist that doubled up on the track, has never been paid more than his original session fee. Meanwhile Lewd Read wont go to Austria because of its new "political leadership"..

Gee thanks Lewd. ;-)

Roger Bunn


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

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

==> 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

==> F.FRITH/C.CUTLER/T.DiMUZIO <=========================================

Nov 12 - LOS ANGELES (CA) / Nov 13 - SAN FRANCISCO (CA), Great American Music Hall

==> F.FRITH/I.MORI/Z.PARKINS <===========================================

Jan 12 - PARIS (France), Sons d'Hiver [solos evening] / Jan 13 - PARIS (France), Sons d'Hiver [Traffic Continues w. Ensemble Modern]

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


Sep 18 - CHICAGO (IL), House of Blues / Sep 19 - MILWAUKEE (WI), Shank Hall / Sep 20 - MINNEAPOLIS (MN), First Avenue / Sep 23 - HUNTINGTON (WV), Buffalo Gap Community Camp / Sep 24 - COLUMBUS (OH), Thirsty Ear / Sep 26 - CLEVELAND (OH), Odeon / Sep 30 - NEW YORK (NY), Knitting Factory / Oct 01 - PHILADELPHIA (PA), Trocadero Theater / Oct 02 - BOSTON (MA), House Of Blues / Oct 07 - ANN ARBOR (MI), The Firefly Club


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), Tenax / Oct 24 - VIENNA (Austria), Szene / Oct 26 - LINZ (Austria), Posthof / Oct 27 - WINTERTHUR (Switzerland) [nr Zurich], Gaswerk / Oct 28-Nov 03 - FRANCE (details tba) / Nov 04 - ATHENS (Greece), Radon Club / Nov 05 - SALONIKA (Greece), Mylos

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 27 - BIRMINGHAM, The Foundry / Nov 28 - SHEFFIELD, Boardwalk / Nov 29 - CAMBRIDGE, Junction / Nov 30 - NORTHAMPTON, Roadmenders / Dec 01 - ALDERSHOT, West End Centre

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

==> GONGZILLA <==========================================================

Dec 12 - PITTSBURGH (PA) / Dec 13 - BUFFALO (NY) / Dec 14 - CLEVELAND (OH) / Dec 15 - CINCINATTI (OH) / Dec 18 - DETROIT (MI)

Line-up: Bon Lozaga, Hansford Rowe, Benoit Moerlen & Vic Stevens

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

Sep 19 - ROTTERDAM (Netherlands), Dizzy / Sep 22 - BREDA (Netherlands), Heijgend Hert / Sep 23 - AMSTERDAM (Netherlands), Bimhuis

Line-up: Hugh Hopper (bass), Frank v/d Kooij (sax),
         Robert Jarvis (trombone) & Oscar Schultze (drums)

==> DIDIER MALHERBE TRIO <===============================================

Sep 30 - LA PESSE (France), Parc Naturel Regional du Haut-Jura (Azimut Festival) / Oct 05-15 - NANCY (France), Festival Jazz Pulsations

Featuring Didier's new trio with Patrice Meyer (guitar) & Philippe Foch (percussion)

More info: http://www.multimania.com/malherbedidier/

==> PIERRE MOERLEN'S GONG <==============================================

The dates initially planned for October/November have been cancelled.

I have been told by Pierre that he has 11 new compositions ready, but wasn't pleased with the debut performances of his new band last June and is now looking for other musicians (with the possible exception of the bass player), with plans to record an album before playing live again.


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

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

Oct 05 - POOLE, Arts Centre / Oct 08 - HARROW, Arts Centre / Oct 10 - BIRMINGHAM, Midlands Art Centre / Oct 11 - NEWCASTLE, The Dome, Whitley Bay / Oct 12 - SHEFFIELD, Ecclesall Non-Political Club / Oct 13 - STOCKTON, Arc Theatre / Oct 15 - STIRLING, Cowan Theatre / Oct 16 - ABERDEEN, Lemon Tree / Oct 17 - EDINBURGH, Queen Charlotte Rooms / Oct 18 - GLASGOW, Renfrew Ferry / Oct 19 - ARNOLD [nr Nottingham], Leisure Centre/Bonington Theatre / Oct 20 - WAKEFIELD, Sports Club / Oct 21 - COLCHESTER, Arts Centre / Oct 23 - BRIGHTON University, Gardner Centre / Oct 24 - SOUTHAMPTON University, Turner Sims Auditorium / Oct 25 - DARTINGTON (Devon), Arts Centre / Oct 29 - MANCHESTER, Royal Northern College of Music / Dec 09 - St.ALBANS, Maltings Arts Centre

==> CAMEL <==============================================================

Sep 18 - TURIN (Italy), Hiroshima / Sep 19 - CLERMONT-FERRAND (France), Cooperative de Mai / Sep 21 - MADRID (Spain), La Riviera / Sep 22 - BARCELONA (Spain), The Bikini / Sep 24 - VERVIERS (Belgium), Spirit of 66 / Sep 25 - GRONINGEN (Netherlands), Oosterpoort / Sep 26 - AMSTERDAM (Netherlands), Paradiso / Sep 27 - TILBURG (Netherlands), 013 / Sep 28 - ROTTERDAM (Netherlands), Nighttown / Sep 29 - UTRECHT (Netherlands), Tivoli / Sep 30 - PARIS (France), Le Bataclan / Oct 02 - DUDLEY, JB's / Oct 03 - LEICESTER, Charlotte / Oct 04 - CAMBRIDGE, Junction / Oct 05 - NORWICH, Waterfront / Oct 06 - LONDON, Astoria / Oct 07 - LIVERPOOL, Lomax / Oct 08 - SHEFFIELD, Leadmill / Oct 09 - GLASGOW, Garage / Oct 10 - DUBLIN, Whelans / Oct 13 - SALONIKA (Greece), Mylos Club / Oct 14 - ATHENS (Greece), Rodon Club

Updates at http://www.camelproductions.com

==> CHRIS CUTLER <=======================================================

Oct 06 - BUDAPEST (Hungary), Big Ear Festival

Oct 19 - AMSTERDAM (Netherlands), Bimhuis / Oct 23 - EINDHOVEN (Netherlands), Festival

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

==> SOPHIA DOMANCICH <===================================================

Oct 11 & 12 - PARIS (France), Sunside Jazz Club
[SD Trio, with Michel Zenino (b) & Francois Laizeau (d)]

Oct 24 & 25 - PARIS (France), Duc des Lombards
[Eric Barret Quartet, with Jean-Jacques Avenel (b) & Simon Goubert (d)]

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

Sep 30 - MILTON (Hampshire), Forest Art Centre (Sweet Chorus)

More info: http://www.johnetheridge.f9.co.uk

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

Oct 25 - LONDON, Royal Festival Hall [020 7960 4242] / Oct 26 - COLCHESTER, Arts Centre [01206 500900] / Oct 28 - MANCHESTER, University Main Debating Hall [0161-832 1111] / Oct 29 - NEWCASTLE, Whitley Bay Dome                [0191-454 4494] / Oct 30 - GLASGOW, Old Fruitmarket [0141-287 5511] / Oct 31 - LEEDS, Irish Centre [0113 245 5570]

==> 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)

==> PROJECT LO <=========================================================

Oct 04 - WATERBURY (CT), Brass City Records / Oct 05 - NEW YORK CITY (NY), Knitting Factory Knit (Active Soundstage) [2 shows at 8 & 10pm] / Oct 06 - PHILADELPHIA (PA), Tin Angel / Oct 07 - PEMBERTON (NJ), Live Radio Concert [WBZC 88.5] / Oct 08 -  WASHINGTON DC, Metro CafĂ©

Line-up: Bon Lozaga, Hansford Rowe, Vic Stevens, Happy Rhodes

==> VOLAPUK <============================================================

Sep 29 - ANNECY (France), Le Brise-Glace / Sep 30 - GRENOBLE (France), Theatre Le Rio / Oct 12 & 13 - MONTREUIL [nr Paris] (France), Les Instants Chavires


                          END OF ISSUE 164

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

CALYX - The Canterbury Website


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