::                                                              ::
  ::                     - WHAT'S RATTLIN' ? -                    ::
  ::       The Weekly Digest for Canterbury Music Addicts         ::
  ::                          Issue # 54                          ::
  ::                   Thursday, May 22nd, 1997                   ::
  ::                                                              ::


From: Rcarlberg@aol.com
Subject: Inner City
Date: Fri, 16 May 1997 20:34:19 -0400 (EDT)

[In WR#53, Dave Wayne wrote:]
>Say, if you want to hear some REAL Canterbury-influenced stuff, Inner City
>also issued an LP by a group from Dallas, TX(!) called "Master Cylinder"
>sometime in the late '70s. The LP was titled "Somewhere Else", or some such
>& the cover depicts a bird's-eye view of a traffic jam. These guys had
>definitely studied their Egg, Soft Machine, Muffins, etc. LPs very, very
>closely indeed!! I can't recall who played on this LP, but I didn't
>recognize any of the names...

I happen to have a copy at hand - Steve Feigenbaum was clearing them out a year or so back.  The album, which is quite unaccountably good, is called "Elsewhere" (Inner City 1112, 1981).

The musicians are:

Joe Rogers - piano, synthesizer
Robert Atwood - acoustic and electric guitar
Jack Carter - acoustic and electric bass
Eddie Dunlap - drums and percussion

Coming, as it does, out of nowhere (Dallas/Ft. Worth???) it is a real surprise.
It sounds more like Gilgamesh or "Civil Surface" Egg than "Polite Force" or that first Egg.  I'm not aware of these musicians turning up anywhere else later on (the band apparently existed from 1972 to at least 1981), which is surprising because they're pretty tasty. For all I know they're still together - playing lounges for cowboys to suck suds to.


From: MARTIN WAKELING <marwak@globalnet.co.uk>
Subject: Psychomania
Date: Sat, 17 May 1997 09:26:43 +0100

>[In WR#52, Chad wrote:]
>>In "Wrong Movements" it says the Sept. 22, 1967 Soft Machine TV
>>broadcast is available on a video called "Psychomania! 20 Golden
>>Greats". Does anybody know where this video can be had from?

In the WAWS discography is the following about Psychomania - released Australia c.1991 (PAL format?) by Hughes Leisure Group catalogue no. GREMV 474.  Also released in Japan (NTSC format) as Videoarts VAVZ 2086 and on laser disc with same cat.no. The Softs tracks are from the Dutch TV Hoepla programme of 23.10.67 with the Ayers Ratledge Wyatt line up. Two songs 'Soon Soon Soon' and 'I Should've Known'. I've got a photocopy of the sleeve somewhere but I'd need a spare month or three to dig it out! The two Softs tracks were available on the usual tapeswapping circuit long before the commercial release came out.




From: Biffyshrew@aol.com
Subject: Psychomania Video
Date: Sat, 17 May 1997 18:09:44 -0400 (EDT)

[In WR#53, <cmartin@leland.Stanford.EDU> wrote:]
>In "Wrong Movements" it says the Sept. 22, 1967 Soft Machine TV
>broadcast is available on a video called "Psychomania! 20 Golden
>Greats". Does anybody know where this video can be had from?  I'd be
>ordering from the U.S.

This video was issued in the USA, and I found it at Tower Records.  It is distributed by Allegro, with the following phone and fax numbers listed:
Telephone: 530 257-8480
Fax: 503 257-9061
Obviously one of those area codes, probably the first one, is a typo.

Besides the Softs' "We Know What You Mean," the video includes clips of Arthur Brown, Brian Auger with Julie Driscoll, Pink Floyd, Captain Beefheart (misidentified on the track list as "The Jimi Hendrix Experience"!), Cream, Bowie, Hendrix, the Dead, the Airplane, the Byrds, Dr. John and Steve Miller.

Biffy the Elephant Shrew     @}-`--}----
Visit me at http://members.aol.com/biffyshrew/biffy.html


From: Miciah@aol.com
Subject: Volare
Date: Sun, 18 May 1997 00:08:29 -0400 (EDT)

>I'd like to second the Volare recommendation. I've also got a 3-song live
>tape one of the band members sent me and if you liked their demo cassette
>then you'd consider this a smoker! I really think people on WR would like
>this band. I can't wait for a chance to see these guys live

In case you're interested, Volare has been signed to The Laser's Edge.  I
believe the release date for their debut CD is September 1st.  There is also
a chance that they might play at this year's Progday in North Carolina.



From: IChippett@aol.com
Subject: Gong
Date: Mon, 19 May 1997 09:49:03 -0400 (EDT)

Dear WR,

I'm a long-standing Canterbury fan and discovering the website has made my year especially as I always thought I was the only person who still loved this kind of music.
However, I have a confession to make. I have never, as far as I know, heard anything by Gong! Something about their record covers maybe but I have always been a bit put off probably quite unjustifiably. So, where do I start? If someone can recommend a good C.D.to kick off with, I'd appreciate it though, if I like it, I'll have to buy all of the others too! Tant pis!
                                               Keep up the good work

                                               Ian Chippett


From: Gabe_Camacho@usccmail.lehman.com (Gabe Camacho)
Subject: Request for info on Canterbury stuff
Date: Mon, 19 May 1997 11:17:55 -0400

You seem to be where all roads lead when I've asked people for info. Would you know of any possible sources for either sheet music, or MIDI files for Canterbury bands' music.  I'm particularly interested in Hatfield and National Health.  Any suggestions would be appreciated.  Maybe you could add some info at your site.

[As stated before, I'm little knowledgeable in the field of MIDI. I don't think there are any MIDI files of Canterbury bands' music on the web. I know there are some MIDI files on the Musart site but these are Internet-exclusive, not adapted from recorded works. Check out the site for more information. As regards sheet music, I suspect "songbooks" of things like Soft Machine's "Third" exist (I seem to remember this was mentioned in Facelift a long time ago). Don't know about Caravan. I know Dave Stewart has lots of sheet music for Hatfield, Nat. Health and Bruford pieces but I suspect he'd like to publish a proper book of these sometime in the future. You can always write to Dave at Broken Records to say you'd be interested in such a book... - AL]


From: Volare' <volare@arches.uga.edu>
Subject: Volare'
Date: Mon, 19 May 1997 18:25:37 -0400 (EDT)

Hello, couldn't help but notice that our name has been batted around a bit in the last two issues of WR so I thought I'd send out a message in case anyone wants to get a hold of a tape.  Just send a check or m.o. for $7 post-paid (that covers any continent but Antarctica) to:
    Patrick Strawser
    190 Broomsedge Trail
    Athens, GA 30605
Again, as stated earlier, the production quality isn't quite what we'd wanted (that's what you get for being poor) but a lot of people seem to like it anyway---and it is full album length.  None of the songs on this cassette appear on the new album coming out, hopefully, by Labor Day. The production quality on the album is quite good (that's what you get for getting a _producer_).  Anyhow many thanks to all those who've given so much support.

Oh, for all those in the Athens-Atlanta area (or anyone else who feels like driving a bit) we're having a show at Galaxy 500 here in Athens on June 7 (Sat.).  For directions just email me or pat at volare@arches.uga.edu
We try to start them early (by 10pm) and keep 'em cheap (1-3$, we don't play progressive rock for the vast floodgates of wealth it brings us...!)
Steve Hatch


From: SRSTEMP@rackham.umich.edu
Subject: Henry Cow
Date: Tue, 20 May 1997 9:28:11 EST

I have just discovered your site and am intensely into Henry Cow and Soft Machine, Zappa and Beefheart.  I apologize for the prosiac question that follows:  What IS the origin of the use of the name Henry Cow? I've heard what it isn't, but what ISit?  

[It is allegedly derived from the name of a - as far as I know little-known - "avant-garde left-field composer" named Henry Cowell. I know little more than that, and have never read an interview in which either Frith or Hodgkinson gave further explanations - AL]

And let's lobby Cutler for release of more of that live concert material.  I find myself more interested in going back in time to discover or rediscover the linkages between this true fusion music, which is by its very definition excluded from the mainstream.  Sometimes I say thank you for that outsider status, but, and perhaps this is my wishful thinking of universal enlightenment, what if there was a truly even playing field of exposure to make an informed, and thereby satisfying choice, informed because you are aware of the alternatives ["alternative", ugh].  Yet, we will never actually know the limits in an absolutely free medium.  The same pap being slapped with either disco or hip-hop beats is just as contrived, but the industry view will always be reduct, that of product: they always need "new" product to move.  Let each generation speak, sure, but who's pulling the strings.  And once you find out, why listen?

I hope you will find time to respond to my Henry Cow question, as basic as it is.


John Velner

[On the subject of live tapes, Chris Cutler has previously stated that no additional live material could be added to the CD reissue of "Concerts", being of too poor sound quality. I don't know about early (BBC?) recordings or later (ca. 1976-78) live tapes... Maybe Chris can tell us more. Chris ? - AL]


From: SRSTEMP@rackham.umich.edu
Subject: Re: Henry Cow
Date: Tue, 20 May 1997 13:26:09 EST

[Note: this is John's reply to my above answers - AL]


As for the origins of the moniker Henry Cow, according to a profile by Matthew Martens they "actually didn't take their name from early 20th century American composer Henry Cowell".  Although it seems quite probable they did, still it's apocryphal.  I'd love to hear what Chris Cutler has to say because currently all available sign posts point in a circular direction.  

And while I'm at it, what is the significance (if any) of the trio of art-sock covers?

Thanks again,

John Velner


From: Aymeric Leroy <bigbang@alpes-net.fr
Subject: Neil Murray interview
Date: Wed, 21 May 1997 09:22:34 +0000

[As promised a couple of issues back, Neil Murray has kindly accepted to answer a list of questions about his past activities with Gilgamesh, National Health and more. Thanks, Neil ! - AL]

(…) Please forgive me if my memory fails me about certain things - nowadays I keep a diary which I wish I had done in the 60s and early 70s. I may even be
totally wrong about certain things - it was over 30 years ago!

Q : Can you tell me more about this early band with Peter Blegvad and Anthony
Moore ?
A : At St.Christopher School in Letchworth, Hertfordshire, where I was from 1962-68, I had started playing drums in a very small way, and it wasn't until Peter arrived in (I think) 1965 that I had someone to jam with, mostly on Doors numbers and 12-bar blues copied from the Paul Butterfield Blues Band and various UK 'Blues boom' bands. Anthony Moore's father was a teacher there for a few years, and though Anthony wasn't a pupil at the school, he was around a lot of the time and joined in this little band, though I can't remember who played bass. I started playing bass in my last year there, but only played on maybe one song when I returned to St Chris while Peter was still a pupil - he's a year younger than me. Peter had a green Gretsch Double Anniversary guitar, which wasn't very good for blues or psychedelic rock, and I remember that we went by train to south London to buy a Vox AC30 amplifier that everyone plugged into!

Q : What was the band called ?
A : I suppose there were other names, but of course the one I recall is Slapp Happy and the Dum-Dums, though in fact Slapp Happy was referring to Peter's girlfriend, who was possibly going to sing with us but didn't, and the Dum-Dums were the musicians.

Q : Were there any similarities between the music you played and Peter and Anthony's later work ?
A : By 1968, when I would return from the London College of Printing to jam with the band and play at end-of-term concerts, Peter had influenced us away from blues/rock towards Soft Machine/Pink Floyd experimental music, which mostly consisted of trying to play 'We Did It Again' (Soft Machine) as loudly, distortedly and repetitively as possible so as to annoy the audience as much as possible! Already I felt that what Peter and Anthony were into was a bit avant-garde for my taste, which lay more with Cream, Hendrix (who Peter loved) and other conventional rockers. He was more of a Beatles fan than myself, but we didn't try to play many of their songs apart from 'Rain' and an attempt at 'Tomorrow Never Knows'. He was a big Bob Dylan fan, who I don't like at all.

Q : Did you keep in touch with Peter and Anthony in subsequent years ?
A : I stayed in touch with Peter for about 5 or 6 years after leaving school, though as our tastes developed, we had less in common musically and artistically - I studied graphics and typography ('commercial art' as it used to be called) whereas he was much more talented and adventurous as an artist and illustrator, poet, songwriter etc. I saw him with Faust at the Rainbow Theatre in London, but maybe only a couple of times since then, though I've often meant to go to his gigs in recent years. I was never particularly close friends with Anthony Moore, so I doubt if I've seen him since 1970, though I sometimes go back to school for their annual Old Scholars get-togethers. When I edited the school magazine in 1967 I devoted the whole centre section of about 8 pages to a surrealistic story in drawings by Peter, which some of the older ex-pupils thought was in bad taste!

Q : Who was in Gilgamesh when you joined ? Already Phil Lee and Mike Travis?
Who did you replace ? What sort of material did you play ?
A : Yes, Phil Lee, who joined at the same time as I did - I think they had tried Allan Holdsworth who was fantastic but couldn't read music - and Mike Travis, and I was replacing Steve Cook who came back into the band after I left (and later married Jon Hiseman's sister). Most of the tunes on the first Gilgamesh LP are ones that I played during my year (1973) in the band.

Q : Was Gilgamesh part of a particular musical scene at the time ? Were you
friendly with other bands ?
A : There were a lot of other jazz-rock bands around then such as Isotope, Nucleus etc, and there were various pub venues where you could hear those kind of bands, which is where most of the gigs I did with the band took place. I guess that the other musicians, being from the jazz scene originally, knew a lot of the other players, whereas I, being younger and only just learning about jazz, didn't have much contact with them. They would go to jazz concerts or to Ronnie Scott's Club more than I would and were often playing in other jazz bands anyway. Gilgamesh was not a professional band - you couldn't make a living from playing solely with them - the music was too uncommercial.

Q : How did the "double quartet" gigs with Hatfield and the North happen ? Was the music in any way the "shape of things to come", the "rock orchestra" sort of concept of National Health ? Did any of the music played at these concerts turn up on a later album in one form or another ?
A : I think Dave Stewart could tell you more than I can - I don't think I had met any of Hatfield & the North until we started rehearsing the double quartet. Likewise, I'm really not sure if any of the music was used later - I should imagine so. From what I remember, there were similar elements to Nat. Health, with Alan's bits being more jazzy, with loose jamming parts, and Dave's being more modern-classical-influenced and very structured. It was very powerful when all 8 musicians were playing simultaneously.

Q : What were Gilgamesh's activities during the two years you were in the band ? Approximately how many gigs did you play ? Did the band look for a record contract ? Overall, would you say the band had a sort of "cult following" or something like that ? Do you have any idea whether tapes of Gilgamesh's BBC sessions have been kept by any of the other members, and could eventually see the light of day ?>
A : We mostly just rehearsed, with only about 20 gigs in the year that I was with them. We made demos that were used to eventually get the deal with Caroline Records, but I don't think we did enough gigs for us to get a 'cult' following - the playing was a bit too conventionally jazzy for 'Canterbury' fans. I never had a copy of the BBC tapes, but perhaps Alan Gowen's ex- girlfriend Celia who is now married to Rick Biddulph would have a copy.

Q : Did you leave Gilgamesh in late '74 then joined Hammer, or *to* join Hammer ? In other words, why did you leave ? Why didn't you say when you briefly rejoined ?
A : To clear things up, I left Gilgamesh to join the Hendrix-type band Hanson in November 1973 because although it was pretty simplistic rock, it allowed me to get that side of my playing out, and it was an actual professional band that had a record deal with ELP's label, Manticore (we were supposed to open for them on tour, but it didn't come about), and the chance to record an album 'Magic Dragon' in Los Angeles. Also I wasn't really a huge fan of Phil Lee and Mike Travis' style of playing, which was a bit too far away from the simpler music I liked, while not being as exciting as John McLaughlin or Tony Williams. I enjoy jazz-rock when played by bands such as Mahavishnu Orchestra, Weather Report and Return To Forever but most of the British players of the 70s didn't grab me. Dave Stewart's compositions and playing were much more interesting than most of the other 'progressive' music that was around then, and he wasn't trying to be a copy of an American band. I actually joined Hanson then rejoined Gilgamesh because the keyboard player didn't like my playing, then when he left after a couple of weeks I rejoined, which understandably meant that I wasn't very popular with Alan for a short time. When Hanson broke up the following summer because Junior Hanson was put in jail in New York (!), I spent a lot of time practising and did a few gigs substituting for Clive Chaman in Cozy Powell's Hammer. Clive had helped me a lot with my playing in '72/'73 and had recommended me for the job with Hanson - he played their first album 'Now Hear This". I sat around for about six months until playing what turned out to be Hammer's last shows in February 1974. I can't remember very well, but I may have done a bit of rehearsing with Gilgamesh during 1974, and I think they wanted me to rejoin, but I was more into the rock side of things - my dream would have been to play with Jeff Beck.
As you can see, I was not really the perfect musician for a 'Canterbury' band, but perhaps I brought something different to National Health, though I think I was sometimes thought to be too agressive a player.

Q : In 1975-76 you were in Colosseum II alongside Gary Moore, Don Airey and Jon Hiseman, and seemed to be on the verge of a successful career on the hardrock scene. Yet this only happened a couple of years later as you surprisingly left that band to rejoin Alan Gowen in Gilgamesh. Why such a move ?
A : I would call Colosseum II a jazz-rock band, though obviously more rock than jazz. What happened was that due to pressure from their label, Bronze Records, myself and the singer, Mike Starrs, were fired from the band in the summer of 1976. The band then did demos with their new bassist, John Mole, but were dropped anyway by Bronze! They did sign with MCA Records and had reasonable success with 2 albums, 'Electric Savage' and 'Wardance'. Mont Campbell had just left National Health so I happened to be available at the right time.

Q : What are your memories, musical and non-musical, of playing in National
Health ? You certainly moved to another style, and a much higher profile, in
later years. Do you still like that sort of music, though, with much
more of a progressive/jazzy style ?
A : My memories contain rather conflicting impressions, and I realise I may be committing sacrilege by daring to criticise some of your favourite musicians! There was a strong anti-establishment, rather 'hippy' bias within the group especially from the ex-Hatfield guys - less so with Bill Bruford, obviously. There was a tendency towards feeling that if a band was successful then it couldn't be any good; and vice versa, if a band like Henry Cow was doing very uncommercial music and playing free festivals, then they were more praiseworthy.
Technical facility in music was rather frowned on, rather it was better to struggle to play something that wasn't expected or easy to listen to, though in fact that often became as predictable as doing standard blues or jazz 'licks'. I thought Dave Stewart wrote some very interesting 'songs', though after one had mastered the complexities of reading the parts he had written for you there wasn't much that one could add of one's own style. The other guys' compositions had more areas in them which allowed more freedom, but frankly there wasn't enough mastery of 'feel' for the more 'jamming' parts to be really comfortable, in my opinion. I wasn't particularly turned on by the bits that were difficult just for the sake of it, but I enjoyed the memorable tunes and interesting arrangements. There were definitely some time-changes that were in the songs just to be clever, and I personally prefer music that has more 'groove', whether it's jazz, rock or funk-influenced. However I do think that the most 'English' and 'cerebral' portions of the music were the most successful.
We made almost no money from gigs, and obviously had to spend a lot of time rehearsing, and luckily Dave was good at organising what tours that were possible, though by 1977 the audience for that kind of music had become pretty small. However good the compositions and musicians were, it wasn't possible to make a living from it, and it was rather depressing to play to small audiences who were either interested in getting stoned or analysing every note for deep significance. I (probably quite rightly) feel that I was too mainstream in my musical and lifestyle tastes for some of the band and the audience, though it's interesting that later Dave became quite a bit more commercial with his projects.
I listen to some 'fusion' music these days, but I'm not a follower of the progressive scene. I know there are some fantastic players, but a lot of it sounds old-fashioned to me. There's a lot of bands in all styles of music that I would enjoy playing with (or have played with - I hardly ever listen to anything I've done after it's finished, and there's not much that I have played on that I think is much good) but I don't want to sit at home and listen to that same music for pleasure.

Q : Under what circumstances did you decide to leave National Health to join Whitesnake ?
A : I first played with Whitesnake just to help them audition a drummer, through my friendship with Bernie Marsden from Hammer days. They already had a bass-player, but he decided to return to playing with Frankie Miller, so they asked me to audition properly, with another (better) drummer who I had worked with a little before. I felt guilty about leaving National Health, but John Greaves was a much more suitable person for Nat. Health, both musically and pesonality-wise. I wanted to play with a band that had more in common with my blues-rock roots (though there are some jazz-rock influences on the first Whitesnake album) and that had the potential to attract a much bigger audience, though the band started off playing very small clubs.

Q : Did you remain in contact and/or friendly with any of the 'Canterbury scene' musicians you worked with in the 70's ? Were you still in touch with Alan Gowen at the time of his death in 1981 ?
A : I haven't really stayed in touch with the other members, though I shared a
flat from 1985-1988 with Amanda Parsons (now Amanda Evans and not doing anything musically), and I bumped into Pip Pyle at a Paris airport a couple of years ago. Occasionally I receive letters regarding royalties etc from Dave, but I'm sure the other members have had no interest in any of the bands I've been in since leaving. I had talked to Alan Gowen in the months before he died, but I was busy touring with Whitesnake, so I didn't see him as much as I should have.

Q : Have you seen and/or heard the recently released "Missing Pieces" CD made from previously unreleased National Health recordings, some of which feature your playing ?
A : I've been looking for the CD but perhaps it's only available in specialist shops or huge megastores, and I haven't found it yet.

[Neil will be happy to answer questions from WR subscribers if there are any areas left uncovered, or some to dig a little deeper... - AL]


From: bc71445@binghamton.edu
Subject: Impetus interview with Daevid Allen
Date: Wed, 21 May 1997 16:47:27 -0400 (EDT)

Dear Aymeric (and WRers),

Does anyone have a copy of an interview with Daevid Allen from Impetus magazine by J. Rhys-Lewis, vol. 7 p.281-282, and vol. 8 p.353-358, 1978?
My library couldn't track it down.

Thank you.

Catch you on the flip side,

Jim Powers


From: Didier Dumahu <Didier.Dumahu@ineris.fr>
Subject: "Videos"
Date: Thu, 22 May 1997 08:43:46 +0200


I've been wondering whether the lyrics to Richard Sinclair and Hugh Hopper's song "Videos" (written in 1983) referred to a particular TV programme that was running in England at the time (like the many ones that have since flourished in America). Or does anyone have interpretations of these lyrics?



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

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

[John Goodsall-Chris Sjobring-Percy Jones-Pierre Moerlen]
May 25 - Sheffield, The Leadmill
May 26 - Oxford, The Zodiac
May 27 - Bristol, The Fleece & Firkin
May 28 - Colchester, The Arts Centre
Jun 03 - Vignola (Italy), Town Hall
Jun 04 - Rome (Italy), RAI [Radio Live Broadcast]
Jun 05 - Rome (Italy), Frontiera
Jun 06 - Schio (Italy), Teatro Pasubio
Jun 07 - Genova (Italy), Teatro albatros
Jun 08 - Bassel (Switzerland), Atlantis
Jun 09 - Stuttgart (Germany), Altes Schutzenhaus
Jun 10 - Munich (Germany), Schlachthof
Jun 11 - Erlangen (Germany), E-werk
Jun 12 - Koln (Germany), Tunnels
Jun 14 - Hameln (Germany), Sumpfblume
Jun 15 - Frankfurt (Germany), Sinkhasten

May 24 - Lilliers (France), L'Abattoir
May 25 - Diest (Belgium), The Borderline (6 pm)

Jun 15 - Migne-Auxances/Poitiers (France), Salle Communale (Festival)
[tel : 05 49 51 19 54]
Jul 5-8 - Santo Tirso (Portugal) [details tbc]

HADOUK - BELGIAN DATE [Didier Malherbe/Loy Ehrlich]
Aug 02 - Dranouter, Folk Festival (Ypres) (Belgium)

[Peter Bardens-Steve Adams-Desha Dunnahoe-Dave Cohen]
Sep 18 - Alkmaar (Holland), Atlantis
Sep 19 - Breda (Holland), Para
Sep 20 - Oberhausen (Holland), The Star Club
Sep 21 - Uden (Holland), De Nieuwe Pul
Sep 24 - Paris (France), Passage du Nord-Ouest
Sep 25 - Norwich (UK), The Waterfront
Sep 26 - Ashton-Upon-Lyne (UK), The Witchwood
Sep 27 - Rotherham (UK), Herringthorpe Leisure Centre
Sep 28 - London (UK), Astoria 2

[Phil Miller-Didier Malherbe-Hugh Hopper-Pip Pyle]
Sep 19 - Boulogne-sur-Mer (62), Cabaret Sam [Tel. 03 21 87 32 69]
Sep 20 - Bethune (62), Le Poche

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

                        END OF ISSUE #54

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

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