::                                                              ::
  ::                     - WHAT'S RATTLIN'? -                     ::
  ::     The Weekly (or so) Digest for Canterbury Music Addicts   ::
  ::                         Issue # 165                          ::
  ::                Saturday, September 30th, 2000                ::
  ::                                                              ::



A lot of stuff in this issue, so the review of Hugh Hopper's Dutch tour will have to wait until the next WR... along with an English translation of an article that appeared in the Dutch press. Meanwhile, I hope you enjoy the following - #166 within the next few days...



From: Dave Cross <please@delete-my-email-address.com>
Subject: Another interview?
Date: Mon, 18 Sep 2000 10:57:25 -0400

-- Dave Cross interviews Daevid Allen

* * * * *

Is Daevid Allen relevant in the year 2000?

As early avatar of cosmic hippie psychedelic culture Daevid Allen bent the young minds of the 1967 London with underground darlings Soft Machine. Combining beatnik flourish, ethnic exposures, tape loops and, ahem, other more organic substances - you would have imagined that the first recorded works of Soft Machine would be much more that what they actually wound up being. Maybe it was the production of Giorgio Gromelsky (another nut Allen would crack when punk rock fried an egg on his head, this with the one and only New York Gong). Maybe it was because they were actually demos for The Animals.

The Softs' second recording, a single "Love Makes Sweet Music" c/w "Feelin' Reelin' Squealin'" released on Polydor on February 17, 1967 shot through the brains of bomb trippers everywhere (particularly in The Netherlands where it was released with a full color sleeve). Rumors abound of the influence of the ex-Sonny Bono protégé Kim Fowley's involvement. Ah - this was a top notch piece of plastic, and if you had one today, well, you'd be a very happy person.

Because of their success at the Edinburgh Fringe Festival the band was invited to perform the music (largely improvised) for the great Picasso's (first?) stab at theatre - Desire Caught By The Tail. The 1967 Softs were routinely playing a 90-minute set of material that was mostly lost (though seemingly partially recycled later) when Daevid was detained at the English border and the Softs returned to London. British authorities promptly shipped Allen back to France and it was there that Allen crafted the flotation rotation space station known as GONG.

Will Daevid Allen be relevant in the year 3000?

Q: You are seemingly a great collector of interesting musicians and personalities. Do you find them or do they find you?

A: I am a great believer in serendipity. I devote myself lovingly and wholeheartedly to my music, and usually music in the form of original musicians repays my enthusiasms in kind. I am not particularly interested in perpetuating the more obvious musical cliches, and so am not drawn to more standardized musical approaches. Gong reflects this approach and for this reason, has never tried to be deliberately commercially accessible. It survives because there are enough fresh thinkers and eccentrics in today's world population to support us, and judging by the increasing Gong adherents in their mid-twenties, the percentage is rising in Y2K.

Q: New hope for older artists - you are 62 years young, you are playing harder than ever. Do you have any plans to retire or shift musical gears?

A: To quote Carla Bley: "What do you think I am, a rock star?". People like myself don't even retire when we die. Unless we do. In my experience, as long as you look after your health when you are young, with a bit of luck there just ain't that much difference between being 32 and 62... except maybe I am sometimes a bit more relaxed than I was. My best decade so far has been my fifties.

Q: You did recently record an album of jazz covers...

A: The jazz standards album ("Eat Me Baby, I'm A Jellybean") happened because I wanted to repay the debt of my teenage years in the fifties, spent listening to revolutionary be-bop on radio in Australia. In 1998, I was in L.A. and happened upon a hot little piano trio with Ndugu Chancler on drums, Larry Steen on bass and an exceptional Russian pianist, Eugene Maslov, playing in a local club. I sat in with them and the combination was so startling that we booked a studio the next day and did all the tracks in six hours! Didier Malherbe added his parts as did I & twas done.

This CD came out in 1999 together with three other highly contrasted releases. The second was my San Francisco impro/psychedelic band, Daevid Allen's University Of Errors - "Money Doesn't Make It", which in fact was made even more rapidly than the jazz CD. I did an impro gig with a San Francisco band called Mushroom and the next day we went into a studio in a squat and recorded a long jam. I had a few hours before my plane left for Australia, so I threw some vocals over the top and left without even playing it back. Two weeks later bassist Michael Clare mailed the mixes to me in Oz and I was overjoyed with it!... This began an intriguing liaison with a remarkable guitarist named Josh Pollack, who is actually much better known in San Francisco as the playwright/director of his own plays. His playing slightly reminds of Gang Of Four but in all other respects he is an original. The cream on the cake is that we play extremely well together as two guitarists... So now there is a second University Of Errors CD out on limited edition of 500 - almost sold out, and we have just completed a 10-date East Coest U tour, featuring a new young drummer out of the "Stomp" show named Jason Mills. This band is growing up fast.

The third release was a glissando guitar epic called "22 Meanings". Glissando guitar is a variant of slide guitar, but creates a wide range of hallucinating string and choral sounds based on the esoteric concept of "The Music Of The Spheres". Composed and recorded with Gilli Smyth's ex, Harry Williamson, who played an invention of his own, somewhat like an aeolian harp, but called 'Angel guitar', it also features my son Orlando (drums), playing one drop reggae together with some other outrageous talents from Australia, such as percussionist Greg Sheehan.

The fourth release was an album produced by Kramer at the Knitting Factory in NYC with Kramer and myself, and featuring Hugh Hopper on bass and Pip Pyle on drums. The band is known as Brainville, and the CD is titled "The Children's Crusade", on Knitting Factory Records/Shimmy Disc. This band brought me back to play with my old cohort Hugh after a mere 35 years, only to discover that it could have been yesterday. Pip is my favourite original jazz drummer in the world, though we are not exactly speaking to each other at the moment - this will change! - and Kramer is of course famous for being the most simultaneously lovable and exasperating producer, composer and child genius in the biaz.

So 1999 was a relatively fruitful year!

Q: Speaking of jazz - I have heard a rumour that Gong was formed after proper application of an old Sun Ra LP. True or False?

A: Yep. I found a used copy of a Sun Ra record in a bin in Melbourne in 1958 and was immediately transported into a vision of my own future calling. I was too broke to buy the album but I never forgot his name or what it meant to me. I didn't see him play live till Peter Blegvad took me to watch a dawn-to-dusk open-air full-moon gig on the Wharves in Manhattan in 1979.

Q: During your tenure with The Daevid Allen Trio there has been mention of work with William S. Burroughs and Bryon Gysin. Hugh Hopper says yes, Robert Wyatt doesn't seem to recall this. Can you perhaps lend insight as to what actually happened?

A: Actually I was performing with Bill Burroughs and Brian Gysin at the ICA in London round the time the DA Trio gig was recorded, and in Paris at the American Centre in boulevard Raspail during the period that Robert and Hugh visited me in Paris, but we didn't all play together. I notice that Robert was not clear about the Soft Machine involvement with the Picasso play in the South of France either... The whole story appears in my book "Gong Dream Part One: Soft Machine Years" (GAS Publications 1993), a book which Robert was scandalized by... basically because he didn't remember how intolerant he was of my guitar playing at that time. We were initially hired to play in that sci-fi disco along the coast from St.Tropez, but were soon banned by the authorities and found other more interesting gigs. The first was a Brigitte Bardot party, where we played "I did it again" for an hour and a quarter. This bout of hypnotic Terry Riley-inspired minimalism was enough to make us the toast of the new Parisian fashion season, a factor which worked wonderfully in my favour later in the year in regard to the formation of Gong. We Softs then transferred to opening up the Picasso play "Desire Caught By The Tail", starring Andy Warhol's Ultraviolet and Taylor Meade. This added enormously to our standing amongst the Glitterati in Paris, and created a situation where Soft Machine became temporarily the third most celebrated English band after the Beatles and the Rolling Stones...

I was soon back in Paris after having been refused re-entry into the UK as an illegal Alien Australian, and the burgeoning publicity given to my refugee status meant I had the pick of the best musicians in Paris with which to start Gong... By now the remaining Softs were on course to tour with Hendrix and, according to Robert, the sacrifice of all whimsy. Imagine - if I had not missed that tour Gong might never have been, for what would Gong be without whinsy? "Je ne regrette rien"...

Q: You haven't mentioned Gong in its latest incarnation and the september 2000 US tour so let me add a bit on this....

A: Gong in 2000 has a radically new funky feel with drummer Chris Taylor from Soul II Soul and Roachford, pairing spectacularly with original bassist Mike Howlett. There is also a new keyboard player: Gwyo De Pix, founding member of the first UK all-synthesizer band, Zorch, and a new young tenor saxophonist and flautist from London, Theo Travis (aka: Theodopholis Acidophilis). Original hornyman Didier Malherbe (aka: Bloomdido Bad De Grasse) and Theo play major European gigs together, but on the new Gong album "Zero To Infinity" (released by Snapper Music / One-Eyed Salmon label, March 2000) and on this tour, Theo is introducing himself as sole representative of Gong's sax vocabulary...

First gig, Knitting Factory, LA, on September 7th, followed by Great American Music Hall, San Francisco, on Sept 8th. Then touring all areas thru to the East coast, and ending with Knitting Factory, New York, on 30th, and Philly on October 1st, Boston on the 2nd, and Montreal, Toronto and finally Ann Arbour on Oct 7th. For full details, as always: http://www.planetgong.co.uk

Q: I ask many artists the following question and often get lied to in response. I really don't much care about getting the truth as much as I care about getting a good story... Have drugs ever influenced you or your music?

A: Curiously I think I had better have a hit on a pipe of Moroccan haschisch before I answer this: hmmmmm.... Answer: yes, but here are three even more influential experiences:
1. Sunset after three day fast & medit.
2. Making love all Christmas Day 1984
3. Bodysurfing in Oz

Q: You seem to constantly be playing live shows around Europe, and there have been American and Japanese tours too. How many times have you been around the world? Ever play Poland or Russia?

A: Last year I started my season in April, playing Sydney solo, San Francisco & LA with University Of Errors, NYC/Baltimore with Kramer, three acoustic duo gigs in UK & onwards to Tel Aviv with violinist Graham Clark, then with Gong toured Holland and Germany; and onwards to US tour, including Progfest in San Francisco, Mexico City plus Magma, and then to Japan with prototype band, Oft So Machine - an impro band featuring Hugh Hopper and Chris Cutler and I - as support act for Goddess T, Gilli's trance co-op including drummer programma Orlando & bassprogramma Tone, with Mark Hewins and I on guitars, and Gilli doing voice-magick...

...And this only took me up to 4th July!
I want to go to Eastern Europe more - please Goddess!

Q: What is better - improvisation or composition?

A: I like impro, because via error it produces pure music and brings out the best in us all... I like composition because I am in control.

Q: You improvise live in the studio, which is uncommon (because it's so expensive!)

A: Not true. U Of Err 2 CD was five days total impro, from 6pm to 2am; five days of overdubs - which doesn't have to be done in an expensive studio; seven days of mixing and editing in hightech heaven.

Q: What is better, studio or live?

A: As Professor of Pradox, I can only answer: "Both are better than either: or!"... If studio it's because I have more control. If live it's because I must have more faith.

Q: Can you tell me about what it is you picked up from Terry Riley and when you picked it up?

A: Why it was... back in 1962... this man was my loop guru... he cut me up Chet Baker licks & later played me mescaline mix... I finally got twin Revox decks... at that time this was better than sex... (tapeworks on CD: "Death Of Rock", Voiceprint Records).

Q: Tools in the toolbar.

A: Wots he drinkin?


From: "Rob Ayling" <Rob@voiceprint.co.uk>
Subject: voiceprint
Date: Sun, 17 Sep 2000 17:17:53 -0400

Greetings Rattlers,

We are currently reworking the Voiceprint web site to include MPEG - movies etc. Currently we have some clips of Jakko in the studio performing a previously unissued pieces, Arthur Brown and Man from the Canterbury festival. Plus interviews with Jakko and Claire Hammil.

Shortly there will be footage of Hugh and Brian Hopper performing and interviews from them too. Plus a rare interview with Carol Grimes and some really exclusive footage of Rick Wakeman recording in the studio.

As our commitment to the web site grows.

My questions you guys out there is...

a} Do you a enjoy these little web movie-ettes?
b} Is it worth putting some MPEG - 3 audio tracks up there for you to listen to?
c} What else should we be putting up there?

Thanks for your time and I look forward to hearing your thoughts.

Rob - Voiceprint dude.

web site - http://www.voiceprint.co.uk
email - Rob@voiceprint.co.uk


From: Dan Sullivan <sullivan@haas.berkeley.edu>
Subject: Gong/Kevin Ayers/Zmrzlina Live in San Francisco, 9/9/2000
Date: Sun, 17 Sep 2000 16:08:58 -0700


Here's a lengthy report on a rather amazing Saturday night in San
Francisco. Love and kisses from California!

* * * * *

It's Saturday night in San Francisco's seedy Tenderloin district. Me and the Dutch Guy have arrived early for the much-anticipated gig featuring the latest incarnation of Gong, supported by Kevin Ayers and a mysterious local band seemingly in need of a vowel or two. Lining up outside the Great American Music Hall we meet the most interesting people. A homeless fellow serenades us with classic soul tunes, then hits us up for some money. Old fashioned winos stagger past. Yuppies with too much dot-com disposable income head out of the million dollar condominiums across the street for a night on the town. Three children, none older than eight or nine, skip past us on some unknown mission. A street dealer offers skunk bud ("two toke weed!"). A stripper getting off work at the neighboring X-rated Mitchell Brothers Theatre hails a cab. A group of wild-eyed young women wander in and out the door of the venue and through the queue, all floppy hats, piercings and chemical energy. As the doors close behind them we hear Kevin sound checking Here Comes Johnny.

Behind us in line is a friendly American Gong freak, his brand new wife (three days off the plane from India), and wife's best friend, who has come along from India for emotional support. Both women are seriously underdressed, as first time summer visitors to San Francisco tend to be, wearing sari and sandals and shivering in the foggy breeze. Both are in major culture shock. This is their first rock show. They are skeptical,  and wide-eyed at the street scene unfolding around us, but good sports about the whole thing. We discuss how long it will be before the big cities of India have X-rated theaters. We try to describe the music they are about to hear. We wonder about this Zmrzlina thing. Who are they?  Will they be supporting Kevin, as another local band did last time he was in town?  Will Daevid join Kevin for Lady Rachel, as he did in Montreal back in '93?  Will they dust off the old 70s reggae arrangement of Clarence in Wonderland? The anticipation builds.

The doors open again and we hear Gong sound checking "Magdalene", then watch as two Japanese acid heads, one wrapped in a blanket and the other with yellow wraparound shades, peer inside while hopping about anxiously on the balls of their feet. A 20-something fellow dressed in zoot suit, porkpie hat and Flying Teapot badge, joins the queue. I say hi and he smiles broadly, but seems incapable of forming words to respond. No problem, the vibe is good.

Half an hour later and we're all freezing.  The doors open yet again and a mysterious person emerges. He walks past the rest of the queue, comes right up to us, peers straight into my eyes, and says "It was a great show, you're really going to love it" before disappearing into the night.  The Dutch Guy and I decide he must be a time traveller, an emissary from the future. Things are getting strange.

Finally they let us inside. D.G. and I sit down. To our right are our new friends from India. To our left is the table at which the beautiful and charming Cecily (The Famous One) is selling CDs, shirts and posters for Zmrzlina. She's on her own and business is brisk, so I offer to help out. This turns out to be a great thing. The Famous One introduces me to Mark, Heather, and the other Zmrzliniacs. I learn that their name means ice cream in Czech, their new EP is #1 on KUSF (excellent local college radio station), and that tonight we will see a transitional line up and hear some brand new tunes.

They take the stage and play a great mix of structured songs and jams, and everyone is Very Pleasantly Surprised by the sounds we hear. These folks have great chops, the rhythm section is amazingly tight, and they really listen to one another. The two bass players (one playing lightning fast riffs on a Rickenbacker, chimey with overtones galore, the other holding down the bottom with a Clevinger upright electric) sound particularly scrumptious. Heather the drummer, all Maureen Tucker punk rock trixy pixie energy, sings her first ever lead vocal and leaps off the stage to dance wildly through the crowd. The core group is augmented by a second bass player (soon to replace the current one), as well as various guests on cello, strings, vocals and horns. Later Mark tells me they played:

Papa Buzz / Supermarket Radio / Sutro Tower / School Girls / Kentucky Soul Desert (the Can tune) / Genealogy

Cecily and me sell a ton of gear. I meet Mark's parents and some other band members. These are some seriously nice people. Check them out online at (http://www.zmrzlina.com/). They are currently touring the Pacific Northwest so catch 'em if you can.

OK, now it's just about time for Kevin to go on, but I am still selling CDs and Cecily is busily signing posters and fitting people with t-shirts. Everyone is pumped up by Zmrzlina's set and the anticipation of music still to come. It's getting seriously social now. Excellent tunes are spinning over the sound system (from Gabriel-era Genesis to Rachid Taha and System Seven). Strangers are hugging strangers. I check in with our new friends from India. They are getting into the spirit of cultural exchange by gleefully tucking into huge plates of classic American junk food: nachos smothered in mystery cheese, and french fries smothered in ketchup. One of the Zmrzliniacs, who has spent some time in India, goes over to say hello and compare culture shock notes. Numbers are exchanged and reassurances offered. All will be fine.

I meet a couple who came from Tokyo for the show, and an English fellow who just happened to be in town on business and can't believe his good fortune.  I finally get to thank Gong Appreciation Society majordomo Jonny Greene for his work over the years, and score a copy of Glo's "Even As We" which Jonny says he considers a secret gem of a recording. I have to agree.

In the midst of all this merriment, Kevin takes the stage, supported by  some mystery musicians (local? or up from Los Angeles, where they'd played last night?) on bass, drums and lead guitar. He seems mellow and reasonably comfortable with the scene, smiling and happy, and not too drunk to cope. The vocals are too low in the mix at first but the lights are suitably dim, and slowly it all comes together.  Kevin plays a too-short but still quite lovely set:

Here Comes Johnny / Super Salesman / Mr.Cool / When Your Parents Go To Sleep / Champagne and Valium / May I / Lady Rachel / Stranger In Blue Suede Shoes / Shouting In A Bucket Blues / encore: Thank You Very Much

The Zmrzliniacs have not heard Kevin before and are amazed by his voice.  The band sounds great... they play beautifully and allow Kevin's vocals - and the songs themselves - to shine. I tell Cecily that he's one of my two favorite lyricists of all time (the other being Lou Reed). She listens to  When Your Parents Go To Sleep and says she can relate. During Lady Rachel Kevin brings things way down, and soon has the whole crowd in the palm of his hand, entranced. He pulls the same trick during the encore, but after one final sleepy refrain is, sadly, gone into the night. All cheer wildly.  No collaboration with Daevid, but that's OK.  The night is young and my musical cup already floweth over.

More socializing and flogging of gear ensues. Finally the tape loop craziness of Gongwash Indelible pierces the room and the electric cheese rock begins. Towards the end of the night Daevid will say that Bert Camembert has been in the house, and it's true: the energy is high, bordering on manic at times, throughout what turns out to be a long, long show. The set list looks like this:

Zero To Infinity / Radio Gnome Invisible / Yoni On Mars / Bodilingus / Zero The Hero and the Witch's Spell - I Am Your Pussy / Magdalene / Mad Monk / You Can't Kill Me // Flute Salad - Oily Way - Outer Temple - Inner Temple - She - IAO Chant - Master Builder / encore: Tropical Fish - jam - Selene - Diana - Selene

It turned out our emissary from the future had been dead right. This band is tight as can be, and the show is fantastic. They play for well over two hours, and there are so many highlights. All the tunes from the new CD are done beautifully. Daevid is in rare vocal form on 'Bodilingus' and 'Magdalene', and the range and intensity of his guitar playing is something to see. Gilli seems to be having the time of her life singing 'Yoni on Mars', and Theo Travis plays shimmering waves of flutey delight on 'Magdalene'. Chris Taylor and Gwyo Zepix are locked in tight with Mike Howlett, whose bass playing never ceases to amaze.

One of the wild eyed young women we'd seen outside before the show spends much of the evening dancing in an ecstatic trance, on stage and in the crowd. I run into the zoot suit guy right up front, and he gives me the high sign. The band play a very heavy 'You Can't Kill Me' at light speed, and the concluding couplet ("Your finger on the trigger and your body burning up / Camembert Electrique!") lands like a bombshell, leaving us all gasping. Our new Indian friends can't believe how loud and heavy it is, and one has a headache. I go in search of earplugs for them, which a friendly bartender is happy to provide. That and some aspirin do the trick. Daevid berates the high tech San Francisco crowd for apparently spending too much time in virtual reality, and not enough in his reali-tea, when we fail to sing along lustily enough to please him. We respond with a roar.  At one point (memory fails, but I believe it is on 'You Can't Kill Me') Daevid is joined by one of the guitarists from University of Errors, and much squealing and reeling ensues. The final jam of the set begins with a fresh take on Flute Salad from Theo, and then the band drop into full Trilogy mode for a good hour or so. It's quite different from the last time they were in town with the so-called classic lineup (and Steffi on lead guitar and synths). Daevid plays everything -- leads, rhythm and glissando -- with fire and conviction and the vibe is much more masculine than before. Things come to a crashing climax with Master Builder. We are considerably pleased and not a little bit amazed.

How do they top such a set? With a generous Tropical Fish/Selene encore jam during which Mike Howlett, grinning demonically from behind oversized yellow sunglasses, teases us with hints of Isle of Everywhere and seems to take control of my body. Gilli weaves her spell one last time, invoking the Goddess through incantation. Daevid prances about in his polka-dotted jumpsute. I can't stop dancing either.

Finally the night ends, and the Dutch Guy and I stagger out into the early morning chill. We drive across the Bay Bridge in a bit of a trance.  I take him to his friend's place in the deepest East Bay  suburbs, then head back home to Oakland. Sleep proves well-nigh impossible after such generous evening of musical magick. I chill out to Glo, and eventually do manage to slip off to the land of Nod, only to dream about the Famous One. Life is grand. Wish you were here.

Dan Sullivan


From: Roger Farbey <R.Farbey@bda-dentistry.org.uk>
Subject: Robert Wyatt Soupsongs concerts
Date: Mon, 18 Sep 2000 10:46:34 +0100


Here's the details of the London repeat gig of Soupsongs - there are others in the UK but I don't have the details of those...

Wed 25 Oct 2000 7:45pm
Queen Elizabeth Hall, London
The Songs of Robert Wyatt
With Annie Whitehead, et al.

Roger Farbey


From: mellingham@roughguides.co.uk (Mark Ellingham)
Subject: Peter Blegvad : Leviathan
Date: Mon, 18 Sep 2000 14:37:07 +0100

Peter Blegvad : Leviathan

Just to let everyone know that there will be a chance to see Peter Blegvad's "Leviathan" cartoons at the Cheltenham Literary Festival, from 13-22 October. The exhibition is at Cheltenham Townhall, free admission, and there will be signed prints of a number of the strips available. Peter is also discussing Leviathan with the (very dry, very funny) stand-up comic Arnold Brown at the festival on Saturday 21 October, 5-6pm (£6/£5; booking 01242 227979).

I'm publisher of the book and have supplied quite a few WR subscribers with signed copies. Everyone seems pretty happy with it, as I'd hope given its high production values (and low profit margins!). Price is £15 (including postage to UK). Copies are still available at this price, or - unsigned - in bookshops at £12.99. Apologies for this shameful advertising.

Oh - but there is some news - Peter is also releasing an "acoustic retrospective" album, on Voiceprint, in November, working title "Choices (Under Pressure)".

Mark Ellingham, Sort Of Books

[A personal comment - I have seen a copy of this book recently, and I must say I have been extremely impressed. A very beautiful work indeed. I'll probably buy a copy for myself! - AL]


From: "ANDREW GARIBALDI" <andygee@dial.pipex.com>
Subject: london Concert
Date: Mon, 18 Sep 2000 22:49:37 +0100

Hi Aymeric,

Don't know if this is within the brief of WR but it'a a one-off event for London On Oct 14th at which Dead earnest and others will have a stand, so if yuo can include details in WR, it always helps the underdogs.

Andy G.

The UK's only major electronic music event for the year 2000 takes place in London on Saturday October 14th.

from Germany;

from the UK;
WHITE NOISE (David Vorhaus) with guest THE ORB's Alex Paterson
(new album launch concert)

from Holland;
plus computer graphic show

from Mexico;

plus special guest from France;

plus from  Germany;

Location; The Union Chapel Project, Islington, London
Underground  Station (100m); Highbury & Islington (Victoria line)
Tickets £15.00  (fifteen UK pounds)

The Union Chapel is a spectacular Victorian Gothic church converted for concerts, located next to an underground station directly accessible from all stations and airports. As well as live performances, the festival will have the usual wide variety of CD's on sale.
Credit card orders (Visa/MasterCard) and further information;  
E-Mail: 3rdmillennium@beeb.net
Website: http://3rdmillennium.members.beeb.net
Ordering by phone, fax and mail also available


From: Lokizak@aol.com
Subject: Kenso and Supersister at Progfest
Date: Mon, 18 Sep 2000 23:50:50 EDT

Two bands in two days that often have the Canterbury descriptor in reviews and articles, although not directly related. And in Los Angeles? Progfest offered and delivered.

I have to admit to not knowing anything more about either Kenso or  Supersister than what I had read. I think that I was in the majority in that regard, but it was nice to see hard core fans of each band.

Kenso. For the uninitiated, they are from Japan and this was their first ever show outside of Japan. They obviously gig regularly as they had the confidence and precision of a working band. And what a band they are!  They captured the crowd, earning - and I do mean earning - standing ovations after practically every song.  Fusion is the best and easiest label for the band, with two sets of keys, guitar, bass and drums. Guitarist Yoshihisa Shimizu is the leader and main composer. His songs have an inherent lyricisim often lacking in riff heavy fusion/instrumental bands. He brought typed out introductions in english which he carefully read for each song, while ther audience was still cheering and the rest of the band was smiling. The closest Canterbury analogy would be Phil Miller as I was reminded of his playing often. But the key to the band, at least to my ears, was the bass player who held everything together with precision, power and swing, leaving the drummer to dance on the kit or do his best Billy Cobham. The keys were quite good but clearly not the lead in this band. Their 90 minute set was too short. I made the mistake of basking in the auditorium only to find every Kenso CD sold by the time I got out to the lobby. That is perhaps the best indication of how this band blew everyone away.

Supersister played the penultimate set of the festival the following day and gave us two hours of fun. Before starting to play, the keyboardist set the tone with a wry joke. They opened with some rather straight forward jazzy flute songs with some nice keys runs and 60s jazz flute solos. When I had decided that they were probably an instrumental band, they broke out the vocals and the character of the band came through. Very 60s style humour in "Mexico" and the set highlight "Wow". Great keys that got wilder as the set went on. The rhythm section held it all together. In all a very fun set.  

Have to mention the headliners - Banco Del Muto Soccorso. They were amazing - great vocals, wonderful and powerful players all. A band to see again and again.  

Also a nice word for the organizers who put on a well produced, comfortable show in a great hall. And their choice of bands cannot be faulted.

Dick Archbold


From: "Doug Bartel" <spiflicate@hotmail.com>
Subject: Ayers gig cancelled
Date: Fri, 29 Sep 2000 00:29:25 GMT

Hi Aymeric,

I just heard today from Brad Knox, a friend of Richard Derrick who organized the Ayers tour in America, that the gig that was slated for October at the Bottom of the Hill in San Francisco has been cancelled. The upside is that a live CD is in the works. Please let your readers know that they needn't fight the traffic to get to this gig which is no longer going to happen. I was lucky to catch the double bill of Ayers/Gong at the Great American Music hall in San Francisco. Ayers They seemed to be blues musicians. Perhaps I would have preferred something more for the avant garde camp, but it was enjoyable nonetheless.

Doug Bartel


From: Mark Powell (Caravan reissue programme)
Subject: Help!
Date: Thu, 21 Sep 2000 12:32:37 EDT

Hello Aymeric

I hope all is well with you.

I have a request for you to put on your site or on the next digest of What's Rattlin'.

I would like to include the US single edit of "Memory Lain Hugh / Headloss" as an extra track as part of the forthcoming Caravan re-issue programme by Universal, but alas the master has been lost.

Can you put out an appeal for anyone who has a copy of the US single of "The World Is Yours" b/w "Memory Lain Hugh" / "Headloss" (edit) on London Records 20080 in excellent condition and is willing to lend it to me to transfer onto DAT to contact you.

I would be grateful if you could pass any details on to me. If I can locate this track I can truly say that all aspects of Caravan's recording career from 1968 - 1975 have been covered!

Thanks once again

Best wishes
Mark Powell


From: Gary Davis <artshop@artist-shop.com>
Subject: Canterbury and related releases
Date: Fri, 22 Sep 2000 23:05:59 -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>.  Meanwhile, here are some excerpts that may interest Canterbury fans.

Newly released from Cuneiform Records <http://www.artist-shop.com/cuniform>

Gilgamesh/Arriving Twice
Gilgamesh was founded by keyboardist/composer Alan Gowen in 1973.  Alan Gowen later went on to co-found National Health with members of Gilgamesh and Hatfield and the North in 1975. He left National Health in 1977, and then rejoined in time for a long series of gigs, including the band's US tour of 1979. After National Health broke up for good in 1980, he recorded a few sessions. Shortly after, Alan Gowen was diagnosed with leukemia and he died in 1981. This is almost one hour of all previously unreleased recordings by this legendary "Canterbury" band. The musicians here later went on to play with notables such as Soft Machine, National Health, Black Sabbath, Mike Oldfield & others. This CD features a 16 page booklet jammed with rare photos and interviews, telling the story of leader Alan Gowen's career, from his birth until the demise of Gilgamesh. Interest in our archival Canterbury projects is very high, as witnessed by the great sales of our releases by Soft Machine, Delivery, etc. This is the latest in the series.
soundbite - <http://www.artist-shop.com/cuniform/twice.ram>

New from Steve Adams Flying Cat Records
Pete Barden's Mirage/Live Germany 1996
This very obscure, but much in demand, CD is now being made available to us through Steve Adams. This line-up of Mirage includes Pete on keyboards: Steve on guitars, guitar synthe, vocals; Desha Dunnahoe on bass, flute, percussion and vocals; and Dave Cohen on drums and percussion. Here are highlights from their apparance at the Star Club, Oberhausen, Germany in 1996. It was a freezing cold night, but the band soon heated things up with a spirited performance. They paid their respects to Camel (Pete having been a long time an founding member).  This selection includes music from "The Snow Goose", "Rain Dances" and "Moonmadness", albeit with a new twist. There are also some of the best songs from Pete's solo CD's: "Seen One Earth", "Speed of Light" and "Water Colors".
soundbite <http://www.artist-shop.com/newlabel/mirage.ram>

Coming in October from Chris Cutler's ReR/Recommended
Art Bears/Winter Songs; The World As It Is Today
A reprinting of a catalog title that has been unavilable for the past 3 years. The Art Bears are FRED FRITH, CHRIS CUTLER and DAGMAR KRAUSE, who first worked together when SLAPP HAPPY merged with HENRY COW in the mid-70's. This CD release, brings together their 2nd & 3rd lps, dating from 1978 and 1980, and presents short, sharp, bleak, disturbing songs which burrow deep into the soul. Fred Frith's music,  Chris Cutler's texts and percussion and Dagmar Krause's wistful vocals blend a strict economy of means with a powerful emotional impact."The influence of artists like Frith, Cutler and Krause, and the albums they made as Art Bears, is simply incalculable" - C.M.J.

Jon Rose/The Hyperstring Project
"For his latest ReR CD, Jon Rose has discarded his identity as humorist, joker & evil genuis in favor of a single minded attack on the violin. The Hyperstring Project uses software developed in collaboration with 'Steim' in Amsterdam, and his violin is now able to fire off independent contrapuntal lines "in his words 'rogue counterpoint'" drawing on countless samples from a sonic database. Backwards, forwards and inside-out strings sounds compete with harpsichords, voices, and indescribable electronic resonances, enabling Rose to accompany himself, generating a complex and intense musical argument.

Newly reissued from Clearlight Music <http://www.artist-shop.com/clearlight>
Previously available only as an import, but now reissued by Clearlight Music, this album stands as true fusion music, straddling between progressive rock, classical, modal jazz and Northern Indian raga styles. This album is a gathering between fifteen musicians, French, American and Indian forming a brotherhood and tribe. This album represents the first Clearlight album produced independently. Freed from the conditions being made by the mercantile record companies, Cyrille invited all his musician friends to celebrate this freedom. Particularly noteworthy is the involvement of jazz violinist Didier Lockwood who, demonstrates once again, his genius for improvisation. Gong saxophonist "Bloomdido" Didier Malherbe and Steve Hillage guitarist Christian Boule contribute their unique musical voices. The interplay between the musicians here borders on telepathic, sparks of light flying. Conceptually, Clearlight Visions represents a reimagining of the possibilities of music and life. The cover featuring a tantric goddess hovering above the crystal city is an advanced view of humanity's possibilities to recreate its existence.  The import version of this CD had rearranged all the tracks from the original album scattering bonus tracks throughout.  This new Clearlight Music reissue returns the tracks to their order on the original LP and placing the six bonus tracks at the end, plus one more bonus track, a remix of Songes de Cristal.
soundbite <http://www.artist-shop.com/clearlight/visions.ram>

Coming soon from One Way <http://www.artist-shop.com/oneway>
Kit Watkins/Labyrinth
Kit Watkins/Sunstruck
Kit Watkins/wet, dark and low
Kit Watkins/Holographic Tapestries
Four newly remastered Classic Kit Watkins albums!  A founding member of the ground breaking progressive rock group Happy The Man, Kit has been at the forefront of keyboard oriented music for three decades. Besides using keyboards to mimic acoustic instruments, he created electronic sounds full of breath and life, showing the grace of imperfection and reflecting the fragility of humanity, all expressed in music that spans categories and moods equally. These four CD's can also be found on our Kit Watkins page at
soundbite - <http://www.artist-shop.com/linden/labyrint.ram>
soundbite - <http://www.artist-shop.com/linden/sunstruk.ram>
soundbite - <http://www.artist-shop.com/linden/wetdark.ram>
soundbite - <http://www.artist-shop.com/linden/holograf.ram>

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

Hugh Hopper, Frances Knight, Vince Clarke, Jan Ponsford/The Swimmer
This is a brand new studio album recorded in late 1998 featuring Canterbury legend Hugh Hopper on bass guitar. The album also features the distinguished Canterbury firm of Frances Knight on keyboard and accordian, Vince Clark on drums with Jan Ponsford on vocals. The music all went straight onto tape, played live in the studio and was totally improvised during two one-hour sessions. Hugh will be playing gigs to support the release including The Canterbury Festival.
soundbite - <http://www.artist-shop.com/voiceprt/swimmer.ram>

Future releases from Voiceprint and associated labels (pre-order now)

Various Artists/Soupsongs Live: The Music Of Robert Wyatt
From his early days in Soft Machine and work with the likes of Brian Eno, Mike Oldfield, Kevin Ayers and Scritti Politti, to remarkable interpretations of Elvis Costello's 'Shipbuilding', Peter Gabriel's 'Biko' and The Monkees' 'I'm A Believer,' Robert Wyatt has become a legendary, lyrical figure in British music. Wyatt has not appeared on stage for over twenty years, but he and musical director Annie Whitehead have organised an exceptional group of musicians who have played with him over his long career to celebrate his work. She and Robert selected the music, which Annie then shaped and arranged for the band, many of whom have contributed to Robert's records. The Soupsongs project was commissioned in 1999 by the London Jazz Festival and Nottinghamshire Live & Direct and had two performances, both received to great acclaim by critics and with warmth and affection by audiences. This live recording from Nottingham, features work from Robert's solo albums, ranging from 'Rock Bottom' and 'Ruth Is Stranger Than Richard' to his most recent album 'Shleep'. Participants include Annie Whitehead - musical director, trombone; Julie Tippetts - vocals; Ian Maidman - vocals, guitar, ukelele, accordion; Harry Beckett - trumpet; Larry Stabbins - saxes; Didier Malherbe - saxes and flute; Phil Manzanera - guitar; Janette Mason - keyboards; Steve Lamb - bass; Liam Genockey - drums.

Hugh Hopper & Lisa S. Klossner/Cryptids
Legendary Canterbury musician Hugh Hopper (Soft Machine) and magical singer Lisa S. Klossner combine forces once again for their second album. 'Cryptids' features even more extreme musical voyages: Maserati Mountain climbs through the dream valley panoramics of Lisa's works and vocals. These are underpinned by Hugh's fuzz bass, guitar and keyboards.  Supporting musicians drummer Pip Pyle (Gong, Hatfield And The North), Elton Dean (Soft Machine) and extreme stereo guitar stylist Gary Smith.

Peter Blegvad & John Greaves/Unearthed
Peter Blegvad is a cartoonist, surrealist and musician, a maverick storyteller and song philosopher with a vivid imagination. He is an original member of the legendary avant garde, cult favourites Slapp Happy. John Greaves was the original bass player for radical 70's collective Henry Cow. This spoken word examination of the human condition, with musical assistance from Greaves first surfaced as a limited pressing in 1995. This rarity has now been remastered, with new artwork by Blegvad and is now available as a commercial release for the first time.

Dagmar Krause, Harold Schellinx, Ronald Heiloo/Commuters
Commuters has long been a mysterious and unavailable collectors item amongst the cult of worldwide Slapp Happy fans. Ronald Heiloo and Harold Schellinx were Dutch musicians skirting the fringes of the avant-garde in Amsterdam in the late seventies and early eighties. They recorded this one-off collaboration with Dagmar Krause in 1982. It was issued on a private limited edition vinyl pressing and then deleted. It is a collection of ten, short and highly concentrated songs, in which Ronald's piano accompanies Dagmar's unique singing. Dense, sparse, built from single notes and chords, but always allowing enough space for Dagmar's beautiful and touching vocal performance.

Ex Wise Heads/No Grey Matter
The Ex Wise Heads are Geoff Leigh of Henry Cow (sax, flute, vocals, keyboards, kalimba), Vincent Salzfaas (bookaraboo, bells, shakers, talking drum) and Colin Edwin of Porcupine Tree (fretless bass, guimbri, double bass, sas). Together, they create a refreshing exotic brew of pure undiluted ingredients. From ethnicity to post - modernism, their sound is by turns lyrical, spacious, funky, angular and melodic, earthed by subtly atmospheric grooves. They have recently played the summer festivals at Womad, Bracknell and at Brighton alongside a full Gamelan Orchestra. Their next album will be heavily based on Indonesian Gamelan music.

Tim Blake/Tide Of The Century
Innovative keyboard player, Tim Blake has been a key member of both Gong and Hawkwind. He has played on some of their most popular albums, including Flying Teapot, You, Live '79, and Levitation. Tim's solo projects include the pioneering albums Crystal Machine, (VP211CD) and New Jerusalem. Tim Blake headlined Glastonbury in the late 70's, surrounded by banks of synthesizers and a stunning light show. This had a profound influence on Jean Michel Jarre, who developed these ideas onto a world stage. Tide Of The Century is a brand new album with stunning production and brilliant artwork which will find great appeal with both the Hawkwind and Gong fanbase.


                          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: sramusic@earthlink.net
Subject: Steve Adams Website & Online Store
Date: Sat, 30 Sep 2000 12:15:06 -0700

Hello to All,

Steve Adams & everyone at Flying Cat Records are pleased to announce that Steve is back from a successful tour of Europe, and is busy writing songs for his upcoming CD. Steve would like to thank everyone who helped with the planning and preparation of the tour, and of course all the people who attended the performances! If you were unable to attend any of the shows, the band will be performing in the US in the very near future. The areas focused on will be Los Angeles and the San Francisco Bay Area. Steve is a former resident of the S.F. Bay Area, and hopes to see many familiar faces in the crowd there! Don't miss your chance to see Steve & his band play this powerful set of live music when they're at a venue near you! All performance dates will be posted on Steve's website at: http://www.steveadams.net, so please check in periodically for tour updates.

Also, Steve's website has been completely  re-built, with sound clips from his CD's, works in progress, and some video clips of the recent tour. Soon to follow will be a gallery of tour photos & a few more video clips as well. For those interested in merchandise, now attached to Steve's site is an online CD store with a completely secure server. All orders are handled safely, promptly, and efficiently. When ordering, please be sure to let us know if you would like Steve to sign any CD's for you!

Thank you again for your support, and interest in the music. If you have any questions for Steve or anyone in the band, please email to: steve@steveadams.net. Hope to see you  soon!

All the best,
Steve Adams & The Staff at Flying Cat Records
website: http://www.steveadams.net            


* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
*               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 <===============================================================


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

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

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 <==============================================================

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

==> 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)]

==> 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 <==============================================================

Oct 27 - ANGERS (France), Le Chabada / Nov 04 - VERNOUILLET (France), La Scène / Nov 03 - GENEVE (Switzerland), L'Usine [tbc] / Nov 10 - EVREUX (France), L'Abordage / Nov 17 - LYON (France), venue tba / Nov 18 - MARSEILLE (France), Espace Julien / Nov 23 - MULHOUSE (France), Le Noumatrouff / Nov 24 - NANCY (France), Salle Poirel / Dec 22 - RENNES (France), Salle de la Cité

==> 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 Café

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

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

Updates at: http://www.stips.net

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

Oct 12 & 13 - MONTREUIL [nr Paris] (France), Les Instants Chavires


                          END OF ISSUE 165

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

CALYX - The Canterbury Website


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