::                                                              ::
  ::                     - WHAT'S RATTLIN' ? -                    ::
  ::       The Weekly Digest for Canterbury Music Addicts         ::
  ::                          Issue # 63                          ::
  ::                   Tuesday, August 12th, 1997                 ::
  ::                                                              ::


From: JJdarby@aol.com
Subject: Re: WR#62
Date: Wed, 6 Aug 1997 10:01:26 -0400 (EDT)

Hey there !
Wow! It's fascinating that music I was involved with 25 years ago is still sought after... It really does have a timeless quality, and reminds me of those carefree days... the ones i can remember!
I still am in contact with Dave Sinclair and Mark Hewins, Vince Clarke on a regular basis - we have maintained a friendship over the years and miles. I now have my recording studio, "The Canterbury Music Company" (named after my home town) based in Toronto, Canada. Here I find myself making engineering and producing, working with yet another eclectic bunch of musicians whose goals are so similar to those of my Canterbury past - quality, integrity and passion.
I am in a fortunate position of being able to encourage artistic diversity, offering price breaks in recording time for struggling talented musicians. To me this free spirit is what drove the Canterbury scene (none of the Canterbury musicians ever became rich).
Over the 15 years of being on this side of the Atlantic, I've worked with many artists from all types of music and the huge number that are secret Canterbury fans never ceases to amaze me.
And the coincidences in my life for instance : I have had a strong working friendship with Velvet Underground founder, Lou Reed. Occasionally, I am reminded of Nico, the beautiful chanteuse with the Velvets, also made music with Kevin Ayers, Robert Wyatt and Brian Eno (Q: what was the album called?).
When I lived in Nashville, Tenessee, home of country music, I worked with a producer who was ecstatic to find I knew about Caravan and Camel!
Yes the influence of "The Canterbury Scene" crosses many continents and turns up where you would least expect it...

Anyway, enough of my rambling!
Keep up the good work...

Jeremy Darby
Engineer of many "Canterbury" music projects, 1973-??

P.S. Check out my website : http://www.musart.net/cmc/

[The album you mention was of course "June 1st, 1974", by Kevin Ayers, John Cale, Nico and Eno. Robert Wyatt was only a guest on this album, playing percussion. Incidentally, this gig took place exactly one year after Robert's accident - AL]


From: RAYMBEN@aol.com
Subject: Slapp Happy
Date: Wed, 6 Aug 1997 08:35:17 -0400 (EDT)

[In WR#62, Aymeric Leroy wrote:]
>I have no update on a Slapp Happy reformation but I know they did
>work on something together a few years ago, for a TV series or something.
>Anyone ?

They did a one-hour "opera" called "Camera" on BBC television.  Music and lyrics by Blegvad and Moore, and starring Dagmar Krause (Peter & Anthony didn't appear).  I don't recall what year it was, it was late eighties or early nineties.  

[From the Rough Guide to Rock (more on this below) : "...in 1990, Blegvad and Moore were commissioned to create an opera for Britain's Channel 4. "Camera" was finally shown in 1993... - AL]


From: mellingham@roughguides.co.uk (Mark Ellingham)
Subject: New Slapp Happy disc
Date: Wed, 06 Aug 1997 12:40:42 +0000

Re: rumours of a new Slapp Happy disc - yes, they're true, at least in theory.  Peter Blegvad and Anthony Moore have been working on some songs with a view to recording them with Dagmar Krause, as Slapp Happy, for Richard Branson's new V label. A kind of return to roots, all round. The project is still at formative stage, apparently, so no release (or even recording) date scheduled.

The last Slapp Happy reunion was indeed a TV project: an opera called "Camera" for Channel Four (Britain).

At the risk of banging a drum for my own project, there's a fairly detailed account of the band in The Rough Guide to Rock, which can be viewed at http://www.roughguides.com/rock

As editor of this, I'd welcome any feedback or suggestions from Rattlers. Even new accounts of bands, if anyone can make a good case for (significant) ommissions.  We will shortly be turning the web site into a weekly-updated publication; at present it's just the text of the book. Canterbury bands already featured include Ayers, Caravan, Gong, Hatfields, Henry Cow, Soft Machine, and Robert Wyatt.

Incidentally, Robert Wyatt's new album, "Schleep" (Hannibal) is a delight. Check out Maryan, featuring guitar from Philip Catherine. Wonderful phrasing of voice and guitar. I believe the CD is out round about now.

all best, Mark Ellingham


From: chris cutler <jf23@dial.pipex.com>
Subject: slapp happy
Date: Wed, 06 Aug 1997 14:11:38 -0700

slapp happy currently recording a new cd with a bunch of session musicians - due late this year... funded and commissioned by 'real' record company...
more follows

[Thanks, Chris, for the confirmation ! - AL]


From: NooseRat@aol.com
Subject: Reformations
Date: Wed, 6 Aug 1997 20:52:32 -0400 (EDT)


Thanks for the reply to my questions re: Cow, Slap(p) Happy (I've seen two distinct spellings), & Hatfields/National Health.  I was unaware of any friction between Miller and Stewart. I do have a copy of that Miller/Stewart/
Pyle reformation that you mentioned. It has some good moments but I think it lacks focus.

Thanks again,

[You're mixing everything up, 'Nooserat' - the clash was between Phil Miller and Richard Sinclair, not Dave Stewart. See below - AL]


From: Jeff Kamil <harryhat@wco.com>
Subject: Miller/Sinclair clash?
Date: Wed, 06 Aug 1997 21:06:24 -0700

[In WR#62, NooseRat@aol.com asks:]
>Does anyone know if either the Hatfields or N.Health have regrouped
>and will do a US tour?

[to which Aymeric Leroy replies:]
>...but with the Miller/Sinclair clash that followed there is little
>chance that the two of them would work together again in a band.

What was this Miller/Sinclair clash you speak of?

Jeff ("H the H")

[From an interview Richard Sinclair did for "Canterbury Nachrichten" in 1991 : "Hatfield reformed for a couple of weeks [to do the Central TV show in March 1990]... It worked out quite well, apart from the mistake that I didn't actually notice what they will do with this music. And of course they picked on quite a lot of my music, quite a lot of Pip's, and none of Phil's. And even thought I was out there I didn't register on that at all, that it was no thing to do with what Phil's actually written, cause that was all Hatfield music, cause Hatfield music was a bit like that. Apart from that, Pip for the show had written a lot of new music, and it wasn't any old Hatfield music from Pip at all. And there was only old Hatfield music from Phil and I. So since then we folled them out a little bit, Phil and I, which is a bit of a shame. Cause they stole my favourite writer. I think he writes the best music. He is not my favourite performed and favourite arranger, but he definitely writes my favourite music. You know, Phil and I aren't in close contact anymore which is a shame...". As far as I know, this hasn't changed much since - AL]


From: Mark HEWINS <hewins@musart.co.uk>
Subject: Lady June
Date: Fri, 8 Aug 1997 18:24:23 +0100 (BST)

Hi Aymeric!

Lady June is here next week and we start recording her next CD....
So far
Pip, Lol, Bob Loveday, Phil Miller, Paul Bhattaghargee,
Have agreed to play!
But more people to approach yet!


From: bc71445@binghamton.edu
Subject: Daevid Allen solo tour
Date: Fri, 8 Aug 1997 22:44:13 -0400 (EDT)

I saw in the last WR that Daevid Allen would be touring the US solo.  I'll
have moved to Kansas City by then...any Rattlers out there want to try to
get Daevid to play there, e-mail me at j.and.m.powers@juno.com and we'll
see what we can do!

Catch you on the flip side,

Jim Powers


From: Robert <Rad@megabytecoffee.com>
Subject: GONG in LA September 16 -- THE VENUE:
Date: Fri, 08 Aug 1997 19:46:05 -0700

GONG 9/16 @Billboard Live, West Hollywood


From: caravan@cyberdream.co.uk
Subject: in CANTERBURY!!!
Date: Fri, 08 Aug 1997 14:27:00 +0100


HELLO! Normally, my e-mail address is YESmanONradio@msn.com

I am currently in Canterbury until the 13th. I've been trying to track down members of Caravan, and I now have a strong lead via Hugh Hopper, who I will call shortly. Dave sinclair is currently abroad ( called his shop!) and now I'm concentrating on Pye Hastings. I hope to interview him for the upcoming tour, and I hope to have the interview replayed on the Gagliarchives radio show, at some future date. We play a lot of prog on sat nights at radio station WBZC in New Jersey, U.S.A., and I'm pushing for more Canterbury and related stuff to be aired! I have every Caravan, but I am weak on the Softs and Kevin Ayers,and Robert Wyatt.

Anyway, I'll let you know how i make out, and will post anything possible!

    Charlie Nolan


From: Henry Potts <henry@bondegezou.demon.co.uk>
Subject: REV: Bill Bruford and Pete Lockett's Network of Sparks
Date: Sun, 10 Aug 1997 13:59:09 +0100

Dear Aymeric,

I've also posted this review to rec.music.progressive, but Rattlers may
be interested too.

Bill Bruford and Pete Lockett's Network of Sparks, Royal Festival Hall
(Purcell Room, Queen Elizabeth Hall), London, UK
Monday, 14th July 1997, 19:30-21:20; £10 (in advance)

Bill Bruford: drums, electronic drums
Pete Lockett: varied percussion, voice ("The Crooked Path" and Encore)
Simon Limbrick: vibes, mallet percussion, shekere etc. (all except
Nana Tsiboe: Ghanaian drums (all except "Elevens", "Groove Oddity" and
        "The Crooked Path")
Johnny Kalsi: dhol (all except "Elevens", "Groove Oddity", "Prism" and
        "Network"), plastic bag ("Infra Red")
The Dhol Foundation: dhols ("Full On")

except "Debris": Limbrick (cardboard box), Lockett (large tin can),
Bruford (medium tin can), Kalsi (plastic box), Tsiboe (two small fizzy
drink cans)

and "Travel Light": Limbrick, Bruford, Kalsi (all xylophone), Lockett
(xylophone and varied percussion), Tsiboe (xylophone and Ghanaian drums)

Set list:
"Elevens" (Bruford)                             ***
"Groove Oddity" (Lockett/Bruford)               ****
"Self Portrait" (Max Roach)                     ****
"Infra Red" (Limbrick)                          **
"Prism" (Pierre Favre)                          ****

- interval -

"Travel Light" (Lockett)                        *****
"The Crooked Path" (Lockett/Bruford/Limbrick)   *****
"Debris" (Limbrick)                             ****
"Network" (Lockett)                             ****
"Full On" (Lockett/Kalsi)                       ****

Encore                                          ****

As part of the South Bank Centre's Rhythm Sticks festival, Pete Lockett returned to the Queen Elizabeth Hall, his percussionists' Network joined by Bill Bruford. The percussion quintet played new and old pieces on everything from tin cans to tablas, dhols to electronic drums.

The Purcell Room was full to meet them, with a mixed audience from stereotypical, thirtysomething King Crimson fans in their faded band T-shirts to the broader age range of the RFH's usual contemporary classical crowd. The event had received some publicity in the broadsheet newspapers, with a lengthy article on Lockett in one. Lockett and the other Network members appeared in other events later in the festival as well, but the big draw was surely Bill Bruford, in a gap in King Crimson's schedule.

The first half of the evening was somewhat disappointing. Lockett and Bruford began the evening with Bruford's "Elevens", a piece of synchronised drumming of much technical dexterity, but a rather boring warm up musically. It was in a similar vein to the Bruford/Mastellotto/Belew drumming pieces on King Crimson's THRaKaTTaK tour, but devoid of the spectacle. The next band member, Simon Limbrick, joined Lockett and Bruford for "Groove Oddity", but the evening only really got going when Nana Tsiboe and Johnny Kalsi completed the line up for the group's version of Roach's "Self Portrait". All five remained for most of the rest of the evening, with Tsiboe or Kalsi missing out occasional later pieces.

"Groove Oddity" had seemed rather mechanical in its composition, demonstrating instruments and players in turn, but it trundled along pleasantly enough. "Self Portrait" followed the same pattern, yet, for some reason, it worked so much better with the band sounding relaxed through the fast playing. Their adaptation of Favre's "Prism" worked equally well.

Unfortunately, between "Groove Oddity" and "Prism" came a piece full of nice atmospheres, yet which remained unsatisfying. "Infra Red" failed to seem to develop, good textures from Lockett and Kalsi (on plastic bag!) notwithstanding. Elsewhen, however, its composer, Limbrick, proved to be a great player, underpinning the others with minimalist but effective work on the shekere or other hand held percussion or taking a lead with some ferociously fast mallet playing.

Limbrick's minimalism was something from which Lockett could have learnt. He had an occasionally annoying tendency to bang or shake seemingly random exotic instruments when he had nothing else to do. That minor criticism aside however, Lockett shone. His kit from all over the world was played with proficiency, whichever instrument he used. As an example of such skill over a wide range, he began "The Crooked Path" with a solo on a kanjira, or I think that is what his one head, one bell, one-handed tambourine-like instrument is called. As an instrument, it does not sound as if it has much potential, yet Lockett brought forth a wonderful performance from it, before the rest of the band joined in the piece.

While Lockett took the lead much of the time, be it on tabla, cowbells or whatever, Bruford (but also Tsiboe and Kalsi) often played as the rhythm section. In what was very textual music, Bruford seemed over-reliant on the traditional drum kit -- snares and cymbal to the fore -- and to his electronic drums with their usual programming. When he soloed in "Groove Oddity" and "Prism", Bruford compared badly to Lockett's and Tsiboe's work respectively in the same pieces. It became apparent that he was the extra in this line up: to parse their name better, it was Lockett's Network with Bruford. Thus, we saw Bruford using sheet music quite a lot through the evening and his role in the music could be quite small.

After a patchy first set, the band really found their stride after the interval. "Travel Light" began and ended with all five players on the same xylophone, with Tsiboe and Lockett peeling off to add rhythms to the complex xylophone lines. The rest of the evening continued on a high tone, with complex polyrhythms, inventive use of different percussion instruments and strong playing all round. This was what the Network of Sparks, if not the whole Festival, was about!

As a break from the furious pieces that filled the second half came "Debris", "[a] rhythmic creation on Œfound' objects", namely plastic boxes and tin cans! Despite the performers' joke looks of horror as they were handed their unconventional Œinstruments', "Debris" was presumably preplanned with Bruford reading from sheet music while playing a tin can with his fingers. Again, Limbrick's composing seemed more interested in sounds than structure, but the piece proved its point that most anything could be a worthy percussion instrument.

Bruford's work also picked up for the second half of the evening, with his fine electronic work we know from Earthworks coming through especially on "Network". With Limbrick's mallet work as well, the piece provided a contrast to those before and after which concentrated on acoustic drum sounds. But it was back to straightforward drumming for the finish with "Full On", a most apt title. They warned those of us sitting in the front row and loud it was with the other two members of the Dhol Foundation joining Kalsi at the front of the stage for a dramatic end to the evening. A great climax, if -- like many climaxes! -- without the subtly of the pieces before; this was almost a "who can play the loudest?" competition dressed up as musical composition! A rousing encore continued in the same style, but with just the one dhol player in Kalsi again. More musical, Tsiboe and Limbrick traded lead parts against an onslaught from the others.

The programme talked of "[i]nterchanges and junctions crossing pathways, opportunities of interaction" as the fuel for the Network of Sparks. If the music only sometimes fulfilled some goal of mixing diverse percussion styles and instruments, it did not really matter for we had a great evening of music nonetheless. While the two bassists and the two guitarists in the current King Crimson incarnation have found interesting ways of working together, I have been rather disappointed with the Bruford/Mastellotto pairing. Perhaps Bruford's networking tonight will give them a fresh impetus.

Henry Potts, 10.8.97


From: John Andrew Cawthorne <113151.3141@compuserve.com>
Subject: Daevid Allen at the Witchwood, Ashton-U-L, 6.8.97
Date: Sun, 10 Aug 1997 16:25:22 -0400

I was fortunate enough to be invited to jam on stage with Daevid at his gig on Wednesday in Ashton-U-L.
Can you tell me is this a common occurance.
Having told him previously that I rap poems I was invited on stage and instead of doing something that I had written previously, I ad-libbed my own tribute to Daevid and Gong in my own way. He was then kind enough to sign and give me a copy of 'Dreaming A Dream'. Interesting album!
I am also involved with Ambicus Sound System, the organization which promoted the gig and we are putting Kangeroo Moon on next month.
I'd appreciate feedback
Love Light & Peace


From: Henry Potts <henry@bondegezou.demon.co.uk>
Subject: REV: Adiemus live
Date: Sun, 10 Aug 1997 19:37:45 +0100

Dear Aymeric,

Another review for WR, also posted to r.m.p.:

Adiemus, Royal Albert Hall, London, UK
Saturday, 30th November 1996, 20:00

Composed and conducted by Karl Jenkins
Miriam Stockley: solo vocalist, taped vocals
Mary Carewe: live chorus, additional taped vocals
Alison Jiear, Avryl Stockley, Mae McKenna, Stephanie Benavente, Louise Marshall: live chorus
Prof. Pamela Thorsby: gemshorn and recorders
London Philharmonic Orchestra, leader Duncan Ridell
        Percussion section: Rachel Gledhill, Andrew Barclay, Keith Millar,
        Neil Percy, Jeremy Cornes, David Hassell, Glyn Matthews, Paul Glavis

Set list:
(before the concert, "Palladio" was played over the PA)

"Songs of Sanctuary":
        "Amaté adea"
        "In caelum fero"
        "Cantus inequalis"
        "Cantus insolitus"
        "Cantus iteratus"

- interval -

"Cantata Mundi"
Cantus  "Song of Tears"
        "Chorale I (za ma ba)"
Cantus  "Song of the Spirit"
        "Chorale II (roosh ka ma)"
Cantus  "Song of the Trinity"
        "Chorale III (Vocalise)"
Cantus  "Song of the Odyssey"
        "Chorale IV (alame oo ya)"
Cantus  "Song of the Plains"
        "Chorale V (arama ivi)"
Cantus  "Song of Invocation"
        "Chorale VI (sol-fah)"
Cantus  "Song of Aeolus"
        "Chorale VII (a ma ka ma)"

"Adiemus -- Songs of Sanctuary" stormed to the top of the classical charts on the back of being an advert jingle for Delta Air Lines. Last time I looked, it was there as well. I was attending the first live performance of "Songs of Sanctuary" and its sequel, then yet to be released, "Cantata Mundi". And the man behind this phenomenon is Soft Machine's own Karl Jenkins.

Adiemus has little to do with Soft Machine and Soft Machine attracted less than two sentences in the programme. This was billed and presented as a classical concert: the orchestra in DJs and bouquets for Jenkins, Miriam Stockley (solo vocalist) and Pamela Thorsby (gemshorn and recorders) at the end. A "work locked in the European classical tradition but with vocal sound more akin to ethnic or world music" (to quote Jenkins), with extensive ethnic percussion too, Adiemus is a complex phenomenon. It can sound horribly cliched in small chunks, the female vocals sounding childish, evoking images of the worst attempts at world music by Coca-Cola adverts. It can be described as light classical; "good dinner party" music as I over heard someone describing Jenkins' _Diamond Music_ album. Yet listen to the whole thing and it becomes hard to dislike. Listen further and you hear that Jenkins has done more than simply throw together bits of world and classical music: "Songs of Sanctuary" comes like a message from some distant 'Adiemus-land', a land who have just discovered orchestral music. There is a freshness to Adiemus that was further enhanced in a live performance.

"Songs of Sanctuary" was performed first, in an alternate order to the CD, with "Cantata Mundi" following after an interval. Comparing "Songs of Sanctuary" to the CD, the performance brought a wonderful presence and vitality to the percussion and a certain gravidas to the strings. There were occasional errors and rough spots, but that is to be expected for a first ever live performance.

Classical music buffs might criticise "Songs of Sanctuary" as formulaic and, while happy with one Adiemus, I was worried how a second would be. Adiemus II, "Cantata Mundi", released some months after the concert, was an unknown. It began disappointingly, a re-hash of "Songs of Sanctuary" seemed upon us. Yet, as it developed, I saw a further synthesis of orchestral music and that from this strange Adiemus-land. A fuller orchestra supplanted the lone string section of "Songs of Sanctuary"; the use of xylophones and timpani bridging the gap between orchestral and ethnic percussion. "Cantata Mundi" also saw a widening of the Adiemus-language, with the Slavic sounding "Chorale II (roosh ka ma)" and, on "Song of Invocation", what Jenkins describes as "Arabic sounds", but which seemed more north Indian to me.

I was seated behind and somewhat to the side of the stage, overlooking the nine-strong ethnic percussion section. This meant the mix for me was somewhat awry with percussion so loud, but I suspect it was better elsewhere in the hall and I liked it that way anyway! I was afforded a great view as the percussion section tackled a wide range of instruments. The result was tremendous. At times, I was reminded of Pip Pyle in a recent In Cahoots gig: the same manic drive to the percussion with which everyone else was desperately trying to keep up.

Adiemus has brought Miriam Stockley deservedly to attention. She has been a regular session vocalist, working extensively for Stock, Aitken & Waterman, as well as touring with the likes of Brian May and Mike Oldfield. She has also used her voice in other ways as an impersonator on the satirical TV programme Spitting Image and is employed for many adverts, singing and speaking. Her sister, Avryl, another singer, was in tonight's chorus too. The chorus leader, Mary Carewe, is better known in orchestral circles, as well as in musicals, including Disney's The Lion King.

Stockley sang such nonsense words as "a-de-a" as if it was something deeply joyous and wondrous and "a-ru-wa-ru-wa" as if those syllables were full of great poignancy. A six-strong chorus -- looking vaguely Gospel -- supported her, as did some taped material. On "Songs of Sanctuary", taped support on percussion and, I think, some sort of wind instrument were also used, although the taped percussion did not work too well.

The composer, Jenkins, conducted, but did not play. Mike Ratledge, who had helped on the "Songs of Sanctuary" CD, was absent, having retired wholly from music. Jenkins was a reserved conductor, reminding me of an Albert Einstein hunched over his blackboard

The best received piece of the evening was "Song of the Plains" from Adiemus II, notable for an intro of vocal chorus and rhythmic clapping from the percussion section. Not long after, "Sol-fah" too received much applause, a canon solo by Stockley with herself on tape. In all, the reception was good, although the RAH was less than three quarters full. Odd seating arrangements mean it is rarely full, but I had seen considerably more for King Crimson (THRAK tour) and ELP (Black Moon tour) in recent years.

An encore from "Songs of Sanctuary" finished the evening. I had been tempted to shout out for some Soft Machine songs, but...

Henry Potts, 10.8.97


From: Mark HEWINS <hewins@musart.co.uk>
Subject: Sinclair
Date: Tue, 12 Aug 1997 08:17:44 +0100 (BST)

Hi A

>Mark Ellingham wrote
>Anyone watch BBC2's new "Travel Show" series? as end credits rolled "Music
>by David Sinclair" Could he be in some way related?

No it's *definately not* the 'Caravan' Dave Sinclair. Only the same name.
Although I do believe he's a keybored player too. He seems to do a lot of TV
stuff, not only the travel show.

∞∞∞   MARK HEWINS  ∞∞∞
     < http://www.musart.co.uk/hewins.htm >
            (Guitarists try the CHORD PICKER)
                  < http://www.musart.co.uk/script/chords.htm >
                                  ∞∞∞                                ∞∞∞


From: mgo@chilepac.net (rodrigo garcia)
Subject: Re: WR#62
Date: Mon, 11 Aug 1997 23:33:21 -0400 (CST)

I have been receiving 62 numbers of  "What´s Rattlin" up till now, and I found both, the website and the news service really great.
I am really proud to say that here in Santiago (Chile) we are near to receive the second "canterburian" visit  since "Nucleus" went to Concepción in the 80´s.
In September is coming Fred Frith, and Chris Cutler (yes, they are coming), and I hope people would appreciate this visit. Apart from playing live they are also going to do some "musical clinics" and work on the production of the last record of the chilean group "Fulano". If anyone out there has ever listen to them, I would like to receive some comments; it´s not very "Canterburian" but I think they are excellent. It ´s interesting to find that there a lot of enthusiastic and young peple, in this corner of the world who listen to the Softs, Gong, Hatfield, Caravan, Matching Mole.. etc
Also I would like to know how could I order or buy the non-official live album of Wyatt "Las Vegas Fandango".   "...porque no soy feliz en la escuela.....(R. Wyatt)"

-Rodrigo Garcia  


From: Age Rotshuizen <age@xs4all.nl>
Subject: NH, Soft Head
Date: Tue, 12 Aug 1997 20:27:08 +0200 (CEST)

Hello Rattlers,

I've been trying to get Soft Head's Rogue Element, but I can't find it. A
friend of mine searched for it in London, I've asked in every record-store
in Amsterdam. I can't even find it at On-line shopping sites. Anyone?

Furthermore, I'm curious about the song 'Silence' by National Health. Lyrics
are on Calyx, but I never heard of it.


["Silence" is a John Greaves/Peter Blegvad song that was played on National Health's 1979 US tour, as documented by several bootleg recordings. It later appeared on John Greaves' debut solo album, "Accident" (1982), and turned up more recently on John's "Songs" CD - AL]


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

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

Aug 14 - Falmouth (UK), The Pirate
Aug 15 - Ashburton, Devon (UK), The Lanterns
Oct 04 - Morecambe (UK), Dome [opening for Gong]

Aug 17 - Cambridge (UK), Boatrace

Aug 19 - Sowerby Bridge, Yorks (UK), The Puzzle

Aug 30 - Yazawa, Nigata, Natural High Festival
Aug 31 - Yazawa, Nigata, Natural High Festival
Sep 02 - Nagoya, Club Quatro
Sep 03 - Kyoto, Taku-Taku
Sep 04 - Osaka, Club Quatro
Sep 05 - Tokyo, Liquid Room Rave Party

Sep 09 - tba (USA)
Sep 10 - Seattle, WA (USA), The Phoenix
Sep 11 - Vancouver (Canada), Starfish
Sep 12 - Portland, OR (USA), Crystal Ballroom
Sep 13 - Eugene, OR (USA), WOW Hall
Sep 14 - Santa Cruz, CA (USA), Breakroom
Sep 15 - San Francisco, CA (USA), Great American Music Hall
Sep 16 - West Hollywood, CA (USA), Billboard Live
Sep 17 - San Diego, CA (USA), Brick By Brick

Sep 19 - London (UK), Astoria (with Kevin Ayers)
Sep 27 - Utrecht (Netherlands), Tivoli
Sep 28 - Groningen (Netherlands) (tba)

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

Sep 26 - Manchester (UK), Night & Day

Oct 01 - Liverpool (UK), Lomax
Oct 02 - Leeds (UK), Irish Centre
Oct 03 - Manchester (UK), NIA Centre
Oct 04 - Morecamble (UK), Dome [with Kangaroo Moon]
Oct 05 - Sheffield (UK), Leadmill
Oct 16 - Stoke-on-Trent (UK), Wheatsheaf
Oct 17 - Bristol (UK), Bierkeller (tbc)
Oct 18 - Oxford (UK), Zodiac (tbc)
Oct 19 - London (UK), The Forum [with Whirl-y-gig]
Oct 20 - Birmingham (UK) (tbc)
Oct 21 - Cambridge (UK), Junction

Oct 22nd to Nov 1st (tba)

Oct 30 - Red bank, NJ, venue tba
Oct 31 - Medford, NJ, venue tba
Nov 01 - Harrisburg, PA, venue tba
Nov 05 - Ithaca, NY, venue tba
Nov 06 - Albany, NY, venue tba
Nov 07 - Boston, MS, venue tba
Nov 12 - Providence, RI, venue tba
Nov 13 - New York, NY, venue tba
Nov 14 - Philadelphia, PA, venue tba
Nov 15 - Baltimore, MD, venue tba
Nov 28 - Warrenton, VA, venue tba
Nov 29 -Washington, DC, venue tba

November (tba)

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

                        END OF ISSUE #63

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

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