::                                                              ::
  ::                     - WHAT'S RATTLIN' ? -                    ::
  ::       The Weekly Digest for Canterbury Music Addicts         ::
  ::                          Issue # 21                          ::
  ::                 Sunday, September 15th, 1996                 ::
  ::                                                              ::


From: bigbang@alpes-net.fr (Aymeric Leroy)
Subject: Canterbury Discography / gaps to fill
Date: Mon, 9 Sep 1996 13:48:57 +0000

Thanks to everyone's help, the Online Canterbury Discography is getting
more and more complete.
The URL is : <http://www.alpes-net.fr/~bigbang/cantdisco.html>

Following are some (hopefully most) of the remaining gaps. For each of
them, I mention the info I need : RC for "recording credits" (date, studio
and location, producer or engineer); M for "musicians" (appearing on the
album) and TL for "track listing". Thanks in advance for your help.

- Daevid Allen : RC of "N'Existe Pas", "Alien In New York", "Don't Stop",
"The Owl And The Tree", "Australian Years", "Australia Aquaria", "Seven
Drones", "Radio Promo" and "Jewel In The Lotus"
- Anaid : TL of "Vetue De Noir" and "Belladonna"
- Peter Blegvad : RC of "The Naked Shakespeare"
- Caravan : TL of compilations "The Show Of Our Lives", "Canterbury Collec-
tion", "And I Wish...", "The Best Of Caravan", "Songs And Signs" and "With
An Ear To The Ground"
- Lindsay Cooper : RC, TL and M of "Pictures From The Great Exhibition",
"Live At The Bastille", "An Angel On The Bridge" and "Sahara Dust"
- Lol Coxhill : TL of "Ear Of The Beholder" and both Coxhill/Miller LPs
- Elton Dean : RC of "Boundaries", "Duos" and "Trios" + details on the
"Unlimited Saxophone Company" CD
- Delivery : RC, TL and M
- Todd Dillingham : RC, TL and M of all albums featuring 'Canterbury stars'
(Andy Ward, Mike Wedgwood...)
- 801 (Phil Manzanera) : RC and TL
- Fred Frith : RC of "Guitar Solos" and Frith/Kaiser "Who Needs Enemies ?"
- Ghoulies : RC, TL and M
- Gong : RC, TL and M of "Camembert Eclectique", TL of "Greasy Truckers"
- John Greaves : RC and M of "Accident", RC and TL of "Parrot Fashions"
- Hatfield and the North : TL of "Afters" compilation
- Dashiell Hedayat : RC of "Obsolete"
- Hopper-Dean-Tippett-Gallivan : RC, TL and M of "Mercy Dash" ('85)
- Patrice Meyer : RC of "Dromadaire Viennois"
- Neil : RC, TL and M of "Neil's Heavy Concept Album"
- Nucleus : TL and RC of "Under The Sun", "Snakehips etc.", "Alleycat",
"Out Of The Long Dark" and "Awakening"
- Geoff Richardson : RC, TL and M of "Viola Mon Amour"
- Rollercoaster : RC and TL of eponymous album from '80
- Skaboosh : TL
- Slapp Happy : RC of all the albums
- Gilli Smyth/Mother Gong : RC and TL of all the albums
- Stewart/Gaskin : TL of all the CDs
- Julie Tippett : RC and TL of "Sunset Glow"
- Nik Turner : RC, TL and M of "Sphynx"
- Robert Wyatt : RC and TL of "Animals Soundtrack"


From: Lisa Shannon <lisanico@access.digex.net>
Subject: various (Re: WR#20)
Date: Mon, 9 Sep 1996 19:59:40 -0400 (EDT)

[In WR#20 Steve Feigenbaum wrote :]
> P.S. Tell Bill MacCormick I'll trade him live Wyatt Soft Machine for live
> MacCormick Matching Mole or Quiet Sun!!

I'd trade my first born CHILD for some live MacCormick Matching... uh,
well, let me ask her first.  :)

Bye all - Lisa


From: FDI <fdi@wimsey.com>
Subject: Caravan
Date: Mon, 09 Sep 96 17:08:20 -0700

For your information

Festival Distribution Inc at fdi@wimsey.com is now distributing several
Caravan titles in Canada

For a free catalogue contact us

[Note : Caravan's first album will *definitely* be released on CD
shortly. On the HTD label in England that reissued "Blind Dog At St.
Dunstans" and released Richard Sinclair's "Caravan Of Dreams" album
of 1992 - AL]


From: David Maclennan <davidm@athena.moc.govt.nz>
Subject: Lay off the Softs!
Date: 10 Sep 1996 13:34:09 +1300

First, gotta say what a cool service "What's Rattlin"?" is.  I'm on a
number of prog-related mailing lists, and the signal-to-noise ratio on
this one is among the best.  Seldom has there been an issue that has
not increased my knowledge of the so-called Canterbury Scene in its
various manifestations.  I though I was pretty clued up on all this
stuff, but WR has shown me how woefully ignorant I was.  (Well, New
Zealand is a long way away from it all!)

My one gripe is not with the newsletter itself but with the number of
people who diss the post-Wyatt Soft Machine.  Personally, with the
possible exception of "Third", I PREFER the post-Wyatt period!
"Seven" is my all-time favourite Softs album and always has been (it
was the first one I got).  The first 2 albums, especially the second,
are OK, but for me the Soft machine I know and love starts with
"Third", and especially the Karl Jenkins albums up to "Bundles".

And yes, they ARE Canterbury, IMHO.  Let's not get into these endless
and pointless arguments about what percentage of Canterburiness
qualifies a band or artist for inclusion in the hallowed pantheon of
the "Canterbury Scene" (which we all know is a misnomer anyway as many
of the acts were London-based!)

Wanna hear hot Softs?  Check out the second of the two Windsong BBC
Live in Concert CDs.

And even though I don't agree with his views on Soft Machine, it's
good to see Bill Maccormick posting to this list.  Quiet Sun's
"Mainstream" is a big favourite of mine, as are the Mole albums.


David Maclennan


From: bigbang@alpes-net.fr (Aymeric Leroy)
Subject: A few Questions
Date: Mon, 9 Sep 1996 11:27:30 +0000

1) Has anyone heard the reissue of "Matching Mole's Little Red Record" on Beat Goes On records ? I saw it in a second hand shop, and an inner handwritten note by Robert Wyatt says that the CD starts with the Eno stuff from the "Gloria Gloom" intro, "as was originally planned". I'm not quite sure whether the entire "Gloria Gloom" had been placed at the beginning, or just the intro.

2) A further CD by Gowen/Hopper was supposed to be released this Summer on Voiceprint records. Apparently it consists of improvisations. Does anyone (Steve F. for instance) know more about this ?

3) Are there really TWO Short Wave CD's ? Someone mentioned a CD called "Live", but that's actually the name of their first CD from 1993. Can anyone set the record straight on this ?


From: Eliezer Kaplan <zelwel@earthlink.net>
Subject: The old softs debate
Date: Mon, 9 Sep 1996 19:07:14 -0700 (PDT)

[In WR#20 Bill Maccormick wrote :]
>(...) After that, when these two [Ratledge and Hopper] had left, the Soft
>Machine was just a brand label being passed around. To be honest, Robert
>>always had a great grievance that the Softs retained the name when he
>left... when Mike and Hugh left the name should have died with them.
>Instead it was just commercially exploited for what it was worth.
>It had nothing to do with Canterbury... as did none of the musicians.

    To say the name 'Soft Machine' was commercially exploited assumes that
the Softs had commercial value/potential. I don't think this ever was the
case. The various post-Wyatt versions of the Softs always seemed to pursue
their own muse without really giving a hoot about being 'commercial'. IMO
this is just as true of the Dean/Ratledge/Marshall/Hopper band as it is of
the various incarnations of the Jenkins/Marshall band. I always knew that
when I got an album by the Softs I'd hear something interesting, no matter
who played on it. And there really is a thread of continuity that runs from
their early singles all the way through 'Land of Cockayne', even though the
beginning has little to do with the end. I guess what it really boils down
to is whether you like what Karl Jenkins did or whether you don't.

Eliezer Kaplan

[Well... You're wrong. The Soft Machine name indeed had a *big* commercial
potential in the 70's, and this was particularly the case in France, where
bands like Caravan and Hatfield and the North litterally sold LPs out of
their links with the "Softs family" (this was the term used at the time,
rather than the "Canterbury school"). There is a funny story told by Dave
Stewart in the booklet of "The Complete National Health" where one French
guy standing at the door of the night's venue asks him : "hey ! are you
Mike Ratledge ?". I'm not saying Ratledge was a superstar, but the Softs
name attracted a great number of music fans in those days. And Robert Wyatt
was indeed what you'd call a "star" from the French rock press's point of
view. It would be interesting to know how many copies Soft Machine sold of
their post-Wyatt/Ratledge/Hopper albums... Anyway, I think it's hard for
Americans to realise the "commercial" status of Soft Machine, despite not
being a commercial band at all, had in continental Europe in the early to
mid-70's - AL]


From: "Byron Towle" <byron@sgiab11.tellabs.com>
Subject: Bill Maccormick's comments on Softs
Date: Tue, 10 Sep 1996 12:23:48 -0500

I heartily agree with Bill Maccormick. Thanks for the insight. I must admit
I really enjoy the 'Live' Matching Mole CD. Too bad it's so short. Years ago
when I first heard 801 'Live' I remember being blown away by Bill's excellent
bass work. Especially on the blistering version of Eno's Third Uncle. That
one really smokes.


Byron Towle


From: Rudy A. Pyatt <r.pyatt1@genie.geis.com>
Subject: re:various WRs
Date: Tue, 10 Sep 1996 00:51:24 -0400

Hello all. Some info and some observations:
First, as I mentioned a couple of WRs ago, there is a great store in
Greenwich Village, NYC USA, called Other Music (OM: John Coltrane & the
Moody Blues where are you?). They have quantities of all things CB except
Camel, and I am  bugging them to get some. The good news is that they are
setting up a web site, and will be taking mail orders etc. In the meantime,
they are at 15 East 4th Street, New York, NY 10003.
The phone is 212.477.8150.

(Hope this helps Julian. BTW: they do have Rock Bottom, and I picked up a
copy Saturday)

An observation: The Canterbury Sound is equivalent to the Blue Note sound of
the mid to late '60s. In each case, you had an overlapping set of musicians
producing an identifiable sound. Scan the personnel listings on all those
reissues and you'll see what I mean--recurring rhythm sections, the same
recording studios.

More on this later for the CB Poll.
Back soon


From: d-wayne@lanl.gov (Dave Wayne)
Subject: Comment from Bill MacCormick (in WR#20)
Date: Tue, 10 Sep 1996 12:18:41 -0600

Well, I'm not surprised I've gotten some flack for my "mouldering old hippies" comment. However, I basically agree with what you, Bill, are saying (...read the *whole* message, especially my response to poll question #6!!). I definitely agree that a name change of some sort was in order after "Bundles", if not earlier... Certainly both "Softs" & "Land of Cockayne" were documents of a very facile fusion band which had no real ties with what the original Soft Machine was about (personnel-wise, musically, lyrically, socially, etc.). As a musician, I can sympathize with Robert Wyatt (...and others) who would have anguished upon seeing "Soft Machine" used as a brand name (as you put it very eloquently).

That said, Soft Machine 4 through 7, and "Bundles" are among my favorite records (...or CDs or whatever). "7" was my introduction to 'Canterbury' music. I've been enjoying this music for over 20 years now (...gee I think there's some mold on me, even!). By the same token, I welcome stylistic changes & new directions from the musicians involved... even though I can't expect to LIKE everything that emerges. Still, it beats rehashing the past.

So, I guess my objection to the views of potentially mouldering old hippies
out there is that a "music museum" sort of attitude is a plague to creative
advancement (...even if there's no consensus that advancements are, in fact,
being made!) of any sort. This sort of thing happened on a very large scale
in jazz in the '80's... after Wynton Marsalis hit it big, we were inundated
with 6000 guys offering countless re-interpretations of the early-60's Miles
Davis Quintet. All of a sudden, the REALLY creative ones (Henry Threadgill,
Anthony Braxton, AACM & many others) were thrust aside as the record
companies helped the "young lions" pay endless homages to "the good old
days" by recording the same set of standards ad nauseum. Imagine going to
the record store & only being offered "tribute" albums (...it's not so far
fetched, is it?).

OK, here a new (hopefully) question... what inroads have Canterbury music &
musicians made into the cinema? I can name one... the other week, we were
watching a Cuban movie called "Strawberry & Chocolate". (This is a great
movie, by the way & I heartily recommend it!) About 1/2-way through, there
was a scene where one of the main characters, a student, was sitting in what
I presumed to be the Student Union of a large University in Havana. On the
TV (in this scene) there were images of soldiers fighting... the
soundtrack?? It was either from Soft Machine 4 ("Teeth"?) or 6 ("Lefty"?)...
it's only a brief snippet (15 to 20 secs. max.)... i'm pretty sure it was
"Lefty" from "6", but I'm not absolutely sure. Anyway... anyone else out
there with other instances? The idea of Canterbury music making inroads into
Cuba is also interesting.

Dave Wayne.


From: Phil Howitt [no permanent e-mail address yet]
Subject: Facelift news
Date: Tue, 10 Sep 96 10:01:17 0000


Finally on-line here at Facelift - plans for a website eventually, but
for the time being happy to have e-mail facilities and being able to
browse the world wide web at my leisure.

Facelift 15 finally just about ready to go to the printers. Will feature
a Phil Miller interview, continuation of the Caravan biog, Gong on tour
and loads of reviews. 80 pages in all.

Facelift 16 should follow before Christmas to include interviews with
Steve Hillage, Bill MacCormick plus your Pierre Moerlen feature [mine,
that is - AL], a feature on Kevin Coyne, more Mark Hewins etc.


Phil Howitt


From: (Bill Maccormick)
Subject: Quiet Sun
Date: Tue, 10 Sep 96 08:35 BST-1

[In WR#20 Steve Feigenbaum wrote :]
> P.S. Tell Bill MacCormick I'll trade him live Wyatt Soft Machine for
> live MacCormick Matching Mole or Quiet Sun!!

If only...  The one thing I'm not sure about are whether anyone still has
the Quiet Sun demos we did for Warner Bros in their Dorset country house
studio in about 1970 or the original demo we paid for.

Bill Mac

[Is there any good reason to think that such tapes, if uncovered, could
form an artistically 'interesting' CD ? I mean, for instance, were those
recordings essentially early versions of the tracks you later reformed
to record as "Mainstream" in 1975 or thus far unheard compositions ? - AL]


From: CuneiWay@aol.com
Subject: National Health 'Missing Pieces'
Date: Wed, 11 Sep 1996 08:54:52 -0400

This may be yet another case of crying "wolf" [or in this case "CD"], but the
2nd-in-command at ESD called me yesterday & personally took our order for
Natty Health's "Missing Pieces".

He said the redone versions (new book) are in stock at their warehouse,
& indicated we'd have our copies by the 20th.

So, I assume that this means that we can expect to see the tens of thousands
stacked up in big  displays very soon at your local Walmart.

Steve F.


From: bigbang@alpes-net.fr (Aymeric Leroy)
Subject: Hugh Hopper's opinion of later Softs
Date: Thu, 12 Sep 1996 19:34:57 +0000

Here's an excerpt from a 1991 interview of Hugh Hopper by Manfred Bress's
Canterbury Nachrichten fanzine :

"The thing is, when it first started, Soft Machine with Kevin, it was a
very different band. It was songs, and it was kind of part of the whole
sixties, late sixties atmosphere... With Daevid Allen... I mean, when
Daevid left, Mike Ratledge became more dominant and he was more interes-
ted in composing, and jazz and classical music. So it became more struc-
tured and more technical - I think that was the change. Robert gradually
became less and less of an influence in the band. So the things like songs
went out completely, it became more of a sort of jazz-rock band. So it
changed. But I mean, it's like all bands, it changes all the time, it
doesn't stay the same. Kevin was only in the band for about two years. I
think I was in the band for about four years. And they carried on after I
left for about another five years with completely different musicians.
There are two ways you can think about it. Either you should change the
name completely as soon as the first person leaves, so it is no longer
Soft Machine, it's something else. Or you can say it's like a changing
group with people leaving, coming, going... I mean it did change, it
became more jazzy, more technique, really, I think".


From: Michael Clare <mykelc@earthlink.net>
Subject: Gong tour info
Date: Thu, 12 Sep 1996 23:06:39 EDT

Welcome to the first October 96 Tour itinerary update. Also below you
will find out WHAT YOU CAN DO TO HELP.

The Octave Doctors have been very busy once again in their constant
efforts to amaze and confound me.  There are some major changes to the
schedule so pay careful attention.

Representing The Planet Gong:
Pip Pyle, Steffi Sharpstrings, Gilli Smyth, Daevid Allen, Mike Howlett,
and Didier Malherbe.

Current Schedule (as reported yesterday by Pangea Music)
[see below - forthcoming concerts section]

Again, this is not frozen in cheese, some changes are likely to occur, but you faithful readers of these postings should have some inkling of WHATS GONG ON!!!

Other News
As mentioned last week, SHAPESHIFTER, the very scarce 1992 Gong studio album, will finally be released in the U.S. by Viceroy Music, hopefully in time for the tour.

There is also a bit of biznizing going on that could result in a veritable
monsoon of Gong related CD releases by a large independent label in the U.S.
This new venture would include plenty of solo projects and possible a NEW
Gong studio album.  The Company comes highly praised and can lead Gong into
the next millenium with new generations of fans, which is a very good thing
as it means more music and tours.

What YOU can do
Get the word out- GONG LIVES!!!  Success of this tour depends on you.
Bug college radio to play Gong and talk about the shows.  Buy tickets
early, get an extra one for a reluctant friend or bring your mom.  If
you are or know any members of the press corps, we have press kits and
a great B+W photo suitable for printing!!! Posters will soon be available
so you can put them up at your favorite shops, etc.  If you have any ideas,
E-Mail me at:  mykelc@earthlink.net

Check out the skeletal, but lovely OFFICIAL GONG APPRECIATION SOCIETY

Nirvana Banana
Michael Clare
Bananamoon O. Outpost
San Francisco


From: Os <os@patrol.i-way.co.uk>
Date: Thu, 12 Sep 1996 21:30:49 +0100


Reissued after the collapse of its previous distribution deal, Fish Out
Of Water's debut CD, Lucky Scars, is a brave excursion into the outer
reaches of modem jazz and pop balladry.

Featuring complex and accomplished chamber jazz arrangements, the album
also features ex Soft Machine vocalist and legendary singer/songwriter
in his own right Robert Wyatt.

The brainchild of singer and musician, Genie Cosmas, Fish Out Of Water's
creative and imaginative 'easy listening with attitude' approach is
added extra weight by the fact that Genie is disabled. Diagnosed with MS
at the age of 24, Genie was forced to reassess everything about herself
and her way of life. Finding purpose in the wake of adversity forms one
of the major themes of this intriguing album.

With artwork by Eno collaborator, Russell Mills, this is the first
release on Genie's label, Stream. A stylish operation with a mail-order
catalogue, web site and in-store distribution courtesy of Pinnacle,
Stream is dedicated to the work of the disabled artists who deserve
wider, mainstream attention. Other releases include Rollin1 Thunder by
Ian Stanton and Nice Work by Clare Graydon-James (SRCDOO3 SRCDOO2,

'These are really good songs, good song singing and great saxophone and
it would be enjoyable even if the content didn't matter - but it does.'
Robert Wyatt

For more details see Stream's website at



From: bigbang@alpes-net.fr (Aymeric Leroy)
Subject: Soft Machine - photo help requested
Date: Sat, 14 Sep 1996 08:44:03 +0000

I have been contacted by Jim Powers (<bc71445@binghamton.edu>) who is
currently writing an article about Soft Machine for "Goldmine" magazine.
He has received help from Hugh Hopper and Elton Dean, as well as Bob
Woolford, their soundman from 66-69, and various labels (Voiceprint, Ponk,
Cuneiform, and One Way).

His main problem now is to find photographs to use with his article. Could
any of you help ? Or point him in the direction of someone who can ?

Thanks for your help.


From: drashcraft@juno.com (DAVID R. ASHCRAFT)
Subject: My review of National Health 'Missing Pieces'
Date: Sat, 14 Sep 1996 02:28:33 EDT

I'm not sure if you've had a chance to hear the great "new" Health CD, "Missing Pieces" yet, but it is really outstanding. If no one else has beat me to the punch yet It seemed appropriate to send a review out to you all so that you'll know how good it is and where to get it.

The key reason behind the release of "Missing Pieces" is to document the superb early compositions of The Healthy Ones prior to the much-delayed first album. Virtually all of the 12 tracks on the CD are previously unreleased which unleashes a treasure trove of material that very few have had the priviledge to hear.  The two primary sources for the material are 1976 BBC sessions ('Paracelsus', 'Bouree', the lovely 'Clocks & Clouds', the concert fave 'Lethargy Shuffle' and Mont Campbell's moody 'Agrippa'), and demos recorded in October of 1975. Some of us know these sessions as the 'Virgin Demos' bootleg, and they are quite wonderful. Both groups of tunes feature the combo of Mont Campbell on bass and Bill Bruford on drums.

[Note : this is not actually true. Campbell left NH in June 1976, and 'Clocks And Clouds' and 'The Lethargy Shuffle Pt. 2' were recorded in September of that year with new bass player Neil Murray - AL]

The compositions lean heavily toward Campbell's classically-oriented and complex tunes (six of the ten full tracks were written by Mont). The superb liner notes by Dave Stewart give details on each track as well as displaying his "don't take yourself too seriously" sense of humor that we all appreciate so well. Sound quality is actually quite good despite Dave's caveat that these are all demo tapes with warts-and-all.

Any regrets? Well, yes... due to the focus on pre-first album material we still don't get a CD release of the superb BBC session (Nov.'77) featuring Richard singing 'A Legend in His Own Lunchtime' (later known as 'Binoculars"). There are also songs that were performed live such as 'Trident Asleep' (Alan Gowen) that dated from this period that weren't released here. These are really reasons for a 'Missing Pieces' volume two more so than quibbles with this disc. All most of us can say after listening to hissy, static-filled bootlegs of this material for nearly 20 years is THANK YOU FOR FINALLY  RELEASING IT!!!!!!!

The disc is available from your pals at:
East Side Digital
530 N. 3rd St.
Minneapolis, Minn. 55401

Sixteen bucks covers the CD as well as postage. What a deal!

P.S. Dave mentions in the liner notes that ESD is also releasing Mont
Campbell's NEW solo CD, "Music From a Round Tower". Dave calls it "one of
the best things I've heard in years". Enough said?

                                           Musically Yours, David

["Music From A Round Tower" is not yet released - BTW, apparently Mont now
calls himself Dirk Campbell... Steve Feigenbaum made the following comment
to me after hearing an unfinished version of the album : "It is one long
movement of music. It uses ethnic influences, as well as others, somewhat
like a large-scale work by a composer like, say, Piero Milesi, using ethnic
instruments and less 'minimalism'. I thought it was wonderful, but I like
that kind of thing..." - AL]


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

[for more info : check out the 'Concerts' page of CALYX - see URL below]

[Bon Lozaga, Hansford Rowe, Vic Stevens]
Sep 20 - Middle East, Philadelphia, Pa. (w/Boud Deun)
Sep 21 - Down to Earth, Mt. Holly, N.J. (w/Boud Deun)
Sep 25 - Cafe Tattoo, Baltimore, Md.
Sep 26 - The Saint, Asbury Park, N.J.
Sep 27 - Iota, Arlington, Va. (w/Boud Deun)
Sep 28 - D&S Coffehouse, Warrenton, Va.
Oct  4 - Middle East, Philadelphia, Pa.

Sep 21 - Richard Sinclair Band [feat.Coe, Meyer, Rees-Williams]
         Hugh Hopper's Franglodutch Band
         Stips [new band fronted by ex-Supersister leader RJ Stips]
Sep 22 - various Canterbury-related activities
         incl. Richard Sinclair solo & David Rees-Williams on pipe organ

Sep 28 - Queen Elizabeth Hall, London

Oct 11 - Le D'Auteuil, Quebec City
Oct 12 - Le D'Auteuil, Quebec City
Oct 13 - Le D'Auteuil, Quebec City
Oct 15 - Mama Kins, Boston
Oct 16 - Tramps, NYC
Oct 17 - Club Bene, Sayerville, NJ
Oct 18 - Theatre Of Living Arts, Philadelphia
Oct 19 - Museum Of Art, Baltimore
Oct 20 - Birchmere, Arlington, VA
Oct 22 - Cubby Bear, Chicago
Oct 23 - Seventh House, (near) Detroit
Oct 25 - Phantasy Club, Cleveland
Oct 26 - Cabaret, Montreal
Oct 27 - Cabaret, Montreal

CARAVAN & IN CAHOOTS (double bill)
Oct 31 - Astoria, London

Nov 6-13 - French & Benelux dates (TBC)
Nov 12 - Nice, France (TBC)
Nov 14 - Genoa, Italy (venue TBC)
Nov 15 - Piacenza, Italy (venue TBC)
Nov 16 - Nr Venice, Italy (TBC)
Nov 17-20 - Southern French dates (TBC)
Nov 21 - Paris (Bataclan), France
Nov 22 - Lille (Aeronef), France
Nov 23 - Brussels (UK Club), Belgium

[Mark Hewins-Hugh Hopper-Shyamal Maitra]
From Nov 13 onwards - more details to come

[Daevid Allen-Graham Clark-Mark Robson]
Dec - UK and/or European tour (to be confirmed)

* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *

                            END OF ISSUE #21

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

CALYX - The Canterbury Website



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