::                                                              ::
  ::                     - WHAT'S RATTLIN' ? -                    ::
  ::       The Weekly Digest for Canterbury Music Addicts         ::
  ::                          Issue # 90                          ::
  ::                   Monday, April 20th, 1998                   ::
  ::                                                              ::


From: Stephen Yarwood <syjy@compuserve.com>
Subject: Simon Ainley Interview
Date: Sat, 11 Apr 1998 06:12:14 -0400

Those of you acquainted with the solo career of former Roxy Music guitarist Phil Manzanera, may have spotted a couple of postings on "What's Rattlin?"‚ from Simon Ainley publicising the  release of Live at Manchester University 02/11/77 by Manzanera's 801. Ainley was vocalist on this recording and also an earlier Manzanera studio release entitled Listen Now. I met up with him at his Midlands home to look back at his time with 801 and later involvement with Random Hold, better known on these pages for featuring ex-Matching Mole bass man Bill MacCormick.

So how did the involvement with Phil Manzanera come about?

"I'd first come across Phil in the late 60s/early 70s at school [Dulwich College, south London], he was a couple of years ahead of me and already something of a hero, so we were all really pleased when Roxy took off. He was guitarist with a band called Pooh and the Ostrich Feathers, Charlie Hayward was their drummer and they later evolved into Quiet Sun. By 1976 I had started writing and playing myself so I sent Phil a tape of my songs. He soon got back to me saying he hated the songs but liked the voice and would I come and sing on his album. Naturally I jumped at the chance, an extraordinary piece of luck. Anyway Phil's friend and bass player Bill MacCormick was detailed to check me out, I was invited round to his house and we just jammed all afternoon, it was all very free flowing and worked well. I was in, I was convinced I was going to be a rock star."

The studio album "Listen Now" came out of a lot of half finished bits and pieces that Phil Manzanera had lying around, to which Ian and Bill MacCormick added lyrics and melody lines and generally knocked into shape. It took a long time to put together, the first tentative recording commenced around December 75 and lasted through to July 77, along the way featuring a cast of thousands including Simon Phillips, Dave Mattacks, Mel Collins, Eno, Francis Monkman, Eddie Jobson, Kevin Godley and Lol Creme. The song lyrics reflected the composers‚ disillusion with the political and social climate of Britain at that time. Simon Ainley was lead vocalist throughout.

""Listen Now" was a great album, it had a mood to it, rather dispassionate and cold with a hard edge, it was finely crafted with lots of overdubs and fine tuning. I did loads of takes for the vocals, it all had to be note perfect."

A tour of college venues was subsequently organised in late 1977 to promote it, and the Manchester University gig recorded on 24 track for posterity. Quite why they waited 20 tears before releasing it is a mystery to me.

"We began to rehearse for the tour, I got a temporary job as a van driver in London during which I endlessly played tapes of the songs to get them into my head. The Manchester gig was towards the end of the tour [produces scrapbook of cuttings kept by brother] and what really made it special for me was the fact that I'd been studying architecture at Manchester University only a year before. On such a course you do three years in college then a year out for work experience, so all my contemporaries went out for their work experience and I said I was off to become a rock star, about which they were naturally very sceptical. They came back after a year and there I was onstage with a bunch of famous musicians, so you can see why it was such a special gig for me."

There were special guests as well.

"Roxy's Andy MacKay turned up with his horn and played on three numbers, "Listen Now", "Out of the Blue" and "Remote Control", all of which are on the live album. Kevin Godley and Lol Creme provided highly enthusiastic backing vocals and miscellaneous percussion. There were lots of other tracks that could have been included, "That Falling Feeling", a slower number, was particularly effective. I remember Glasgow was a good night, John Martyn was backstage knocking back copious quantities of scotch and indulging in a mutual admiration session with Phil. The album was fun, the tour was fun but it soon became obvious that really it was all about making money, or not as in this case. After we finished the tour I was unsure if we had a future. We'd never written anything, were we a real band or were we just a bunch of session musicians brought along to do the tour? We tried out a few things which I still have on tape somewhere. I contributed a couple of songs and added a middle eight to another that became "Slow Motion TV" on the follow up album "K Scope", but things took an unfortunate turn when the sessions began. Naturally I was expecting to do the vocals but on the first day of recording at Chris Squire's studio I had a dreadful cold. I couldn't hit the notes and it sounded awful. Tim Finn [later to find fame and fortune with Crowded House] was there, a different voice which they liked and to my dismay he got the job. In the end my only contribution was rhythm guitar on a couple of tracks."

Shortly after the sessions for "K Scope" were completed Roxy Music reformed and Phil Manzanera‚s solo projects went on hold. Financially it made sense, but Roxy were never a potent musical force again. Despite these disappointments Simon Ainley's luck still held. Those of you who like me chanced upon a rather obscure English band in the late 70s / early 80s called Random Hold, read on.

"My profile was still pretty high after 801 and I was approached by David Ferguson (keyboards) and David Rhodes (guitar) who had both been at the same school as me, but a couple of years behind. They were writing some pretty extraordinary stuff, just the two of them with a tape recorder. My playing has always had something of a blues feel, so at first they struggled to integrate me into their very much non blues sound. The music and rhythms had a very European feel, very Kraftwerk influenced. My Eric Clapton / BB King licks were clearly inappropriate, and Ferguson and Rhodes were suitably brutal with their comments. I had to do a bit of thinking for the first time in my musical life to somehow reach a compromise and make it work. I curbed my natural inclinations and began to play more economically, making every note count, to complement the Rhodes style. Things improved significantly and new material evolved. Bowie's "Heroes" was a significant reference point, we would use the Bowie/Eno  cut up technique for lyric writing, and the guitar work of Carlos Alomar was a major influence. It was now three of us and a machine, but to give us more options, particularly with the live set we felt we needed a real rhythm section. The first drummer we had was technically sound, but was a bit older than us and never really fitted in, but it showed how a real drummer could enhance the sound. In those days (78/79) rhythm machine technology was rather primitive, there wasn't much scope beyond bossa nova, tango and basic 4/4 rock. Bill MacCormick came along to see us and we played really well, huge dark slabs of rhythm and melody, layer building upon layer. He was very excited, he wanted to be part of it and was invited to join soon after, so now we could get rid of the backing tapes. Bill was a great bass player, his style was so inventive, he added other dimensions to the music, counter melodies and other bits and pieces. He definitely benefited from not having learnt to play through the usual routes. By this time the original drummer had been replaced by David Leach who we had discovered playing in some college band, an outstanding drummer, very loud with a few nice touches. [This was the line up I saw at Oxford Polytechnic in Feb 79] The whole sound began to open out and become more accessible, although not to everybody, we did get bottled off stage whilst playing support to Adam and the Ants at the Rock Garden in London. We were getting better and people were beginning to take notice and before long we found ourselves with a recording contract. Peter Gabriel liked us, he came to see us quite a lot."

After Random Hold David Rhodes made a successful career with Peter Gabriel and he was still a major player in Gabriel's band on the last tour in 93/94.

"Rhodes was always a brilliant guitarist, I remember him from school, in those days even he played the blues but that soon disappeared. His playing became very uptight and introverted with Random Hold but then opened out again as he made his career with Gabriel."

The Gabriel connection resulted in Peter Hammill, who was part of the same management company, being asked to produce the first the first Random Hold album.

"About a fortnight before we were due to go into the studio we were signed up by Gabriel‚s management company. Gabriel had hit a musical block and we were all scheduled to go down to his place in the west country to help him get something together. Everything was going well, we were lining our first single and we had lots of strong material. My own playing was  important to the overall sound, I had lost the obvious blues influences, the interplay between Rhodes and myself was working well."

Unfortunately Simon Ainley's lucky star had burnt out.

"Around this time I'd become romantically involved and was perhaps a little distracted but I  never less than fully committed to the band. Out of the blue they called me over for a drink and a chat, so I turned up at the pub and within about five minutes was being told I was out. They said I wasn't taking it seriously enough, yet I always gave it everything. I suspect there may have been a hidden agenda but what it was I can only speculate. There was no logical reason why they should do this at such a crucial moment, it was the culmination of everything we‚d worked for. It was such a shock I just stood there and took it. I could have argued until I was blue in the face but they'd clearly made up their minds. I'm not convinced Bill was in favour of my dismissal, I guess he had to take the stronger side as things were rolling, the group had reached a critical phase. He didn't do much of the talking that night, just chipping in occasionally."

Drummer David Leach was jettisoned at the same time, rather dubious claims about his physical fitness and health being cited. Ex-Glitterband drummer Peter Phipps was recruited, Simon Ainley was not replaced. In hindsight these sackings were the beginning of the end for what was a very promising band that was starting to make waves. A big feature in Melody Maker had made them hot property and a number of record companies were chasing them before they signed up to Polydor. I saw the original five piece Random Hold at Oxford Polytechnic in Feb 79 and was completely knocked out by the powerful songs and dramatic sound. The rock solid growl of Bill MacCormick's bass underpinned the contrasting guitar styles of Ainley, more blues / pop, and Rhodes, more dissonant and jagged. The later quartet were still excellent but a little unbalanced without Ainley, too much shade and not enough light.

"After the split David Leach and myself got together a publishing deal, and Polydor were still quite interested. They gave us some studio time and we got a few things together. One of the songs was called 5 into 25 which was about the subsequent legal action taken to recover our share of the Random Hold advance. The publishing company gave us a year to get something out but nothing much happened so I gave it all up."

If you imagine Joy Division as number one in some fantasy gothic new wave rock chart then Random Hold would have a strong case for being number two. In the overall scheme of things they deserved some recognition, even if their undoubted potential was never completely fulfilled as a result of some disastrous internal politics. Perhaps a compilation CD covering the best of the Peter Hammill produced sessions, plus selections from the excellent quality demos, would show that Random Hold were more than just a footnote in the history of rock'n'roll. If anyone else out there is interested let me know, if there is enough support I might be able to lobby Phil Manzanera, he currently has most of the Random Hold masters and demos in his possession on loan from Bill MacCormick. Phil's Expression Records was responsible for the release of the 801 "Live at Manchester" set.  

So what of Simon Ainley now, almost 20 years on?

"After quitting the music business I returned to complete my training as an architect. In this capacity I worked for British Waterways, later becoming a waterways manager in the Midlands. Within the last year or so I've revived my musical aspirations with a local group called Dementia. I have a good writing partnership write with another band member and we probably contribute about a third of the current live set. We're hoping to record some demos in the near future."

I look forward to hearing them. Thanks to Simon for his time and enthusiasm, and the best of luck with Dementia. Live your dream on May 16.

Stephen Yarwood

[Thanks so much, Stephen. This is the kind of contribution I'm dreaming of receiving more often ! Thanks for taking the time and effort to do this interview, transcript and edit it, for the benefit of all WRers ! - AL]


From: neato@pipeline.com
Subject: The First Allen Album?
Date: Sat, 11 Apr 1998 19:39:49 -0400 (EDT)

[In WR#89, mihra@cerbernet.co.uk (Roger Bunn) wrote:]
>Remember I told you I also worked with Daevid Allen in Paris? One of the
>reasons was that my ex Diana was / is still a friend of two American
>people, the beautiful blonde Ziska and flautist Loren whom were both living
>on the Spanish island of Formentera, (sp)? (Although that was not his real
>Maybe you (or someone) can enlighten me on this album. It's called
>"Dreaming the magic of your mana"" and produced by Akashic records

Ziska Baum and Elson (Loren Standlee) were part of the downtown NYC jet set underground... a group whose core was in the burgeoning loft scene of lower Manhattan but who sought "enlightenment" (and just plain fun) in places like Ibiza and Nepal... Daevid Allen describes his meeting with them in his book - "Gong Dreaming"... I have a rare book of poems by them put out soon after their return to the US called "The Orphic Egg"... In addition they were involved with Aspen magazine, which was the LaMonte Young/Marian Zazeela-led literary magazine of the late 60's..they included flexi-discs with the magazine... The Velvet Underground were among those featured as was ziska/loren... Of course Terry Riley (who met and influenced Allen in paris) was a longtime friend of youngs... In addition, the scene included original Velvet Underground drummer Angus MacLeish and photograper/poet Ira Cohen... Cohen has issued work under the Akashic records name... so perhaps he was involved... interesting


From: mihra@cerbernet.co.uk (Roger Bunn)
Subject: What's Rattling
Date: Sat, 11 Apr 1998 20:18:10 +0100

Dear Almeric and all,

I am now looking for discriptions of Centipede, Softs, Elton  Dean, Mark Charig, Mike Patto, Davy Grahm and Uncle Tom Cobblers  and all live gigs to use as material for the auto-biog.

Anyone who saw these (or Barrett / Floyd) and other Canterbury linked concerts during the 60s (yes please)  or early seventies, would they please write a discription, (of what little they can remember ;-) and send them to me.. Great..

Seems someone may be lining up a concert at a festival in France for next year for Davy Grahm and myself, so if anyone wants to do the same, get'em to talk to you or to me huh?

Thought I would send the following again just in case there was someone out there who had a clue as to this album..

Daevid Allen  : Maybe you (or someone) can enlighten me on this rediscovered album. It's called "Dreaming the magic of your mana"" and produced by Akashic records...

BTW, I think one of the Hx Experience may be rather ill atm. But don't tell the media huh..? Don't need them atm..

Thanks for publishing the above..and for your assistance

Roger Bunn


From: Martin Wakeling <marwak@globalnet.co.uk>
Subject: Kevin Ayers News
Date: Sun, 12 Apr 1998 15:51:58 +0100

Things are stirring at the bottom of the well and after Michael Clare confirmed the San Francisco date (WR#89) can I add the other date so far known - Richard Derrick will confirm shortly I'm sure

Sunday May 24th San Francisco  Venue: The Great American Music Hall
7.00pm  $10 advance $12 door  Info Phone: 415-885-0759  www.musichallsf.com
Tickets:  www.ticketweb.com
Kevin is playing with MUSHROOM

May 29, West Los Angeles, Venue : THE GIG (21 and over!)
Address :11637 West Pico Boulevard, West Los Angeles
Phone : 310 444 9870

Can I add a personal recommendation for Mushroom who are playing their own set and then accompanying Kevin?  They are a splendid band with a couple of CDs released in Holland and Germany and boast Kraut Rock, psychedelic and jazz fusion influences with a nod to Can, Miles Davis and Soft Machine. Some of their songs are really pretty - an important link is Pat Thomas whom German fans will doubtless recall from his solo career. He plays drums in Mushroom as alter-ego Patrick O'Hearne.  Needless to say they are all Kevin fans too and the gig comes as a personal highspot for them.  Contact Pat on <normalsf@grin.net> he is a lovely guy to chat to.

The West LA gig is being organised by fan Richard Derrick with whom Kevin stayed on the last (solo) trip to the USA. The original idea was to make it a birthday party for Kevin last August which didn't materialise but it typifies the spirit of what people are trying to do and I was going to say that I hope the earth moves for all of them but then I suddenly remembered the San Andreas fault! Richard too is a magic man and can be contacted at <normdeplume@megabytecoffee.com>


More archive releases will be out in the near future.
Hux Records (run as an independent now by the two people once behind Windsong Records) 'www.huxrecords.com' are putting out a double CD that reissues the January 1972 BBC In Concert (Whole World + orchestra) along with the previously unissued In Concert sets from 19/04/75 (Ollie Halsall on guitar) and from 23/10/76 (Andy Summers on guitar). One of the versions of 'Shouting In A Bucket' has been edited to avoid duplication (though the two versions are completely different!). Another single CD release includes the BBC in Concert 'Banana Follies' from October 1972 which is a lot of fun.  This latter session in particular is great sound and restores what has only ever been a virtually unlistenable tape on the swapping circuit.  The sleeve notes have been written and just await Kevin's additions and sleeve artwork - a problem arose as virtually no Banana Follies photos appear to exist unless someone is sitting on a stash??  Also Marlene (an early 'Decadence') has been omitted at Kevin's wishes from the Follies release.

Please accept 1000 apologies for the ongoing delay in producing the next "Why Are We Sleeping?".  It WILL happen as soon soon soon as the crazy train stops and I can get off! In the meantime don't forget the WAWS site at

Best wishes as ever to all Rattlers



From: "Bringloe, Paul - O&M Ldn" <Paul.Bringloe@ogilvy.com>
Subject: Quantum Jump
Date: Tue, 14 Apr 1998 17:47:00 +0100

Cripes! Barracuda by Quantum Jump being (re) released on CD? I've wanted to get hold of that for bloody years! Tap, t-tap dancer! By Gum... anyone got the time/charitable disposition to mail me a tape of it? Anyone know if it's out there somewhere? I hope it's classed as Canterbury by the way, or I'll be getting one right in the e-mail from Cedric or whatever 'is name is!

Thanks and bon appetit,


From: Pat and Julian <nomad@netrover.com>
Subject: Ultramarine & Robert Wyatt/Henry Cow's LEGEND/Canada???
Date: Wed, 15 Apr 1998 01:24:43 -0400

Hello Rattlers!!!

I've had the ULTRAMARINE cd called "Every Man & Woman Is A Star" in my CD player for a couple of weeks now (I love it!!!). I have a few questions about the tracks Ultramarine sample Robert Wyatt's voice:

1-on the track called "Saratoga", which Robert Wyatt tune are they sampling him from?

2-on the track called "Lights In My Brain", which Robert Wyatt tune are they sampling him from?

Other notes on this CD. I think I heard Ultramarine sampling Yes' "Close To The Edge". I'm positive about the Kevin Ayers' "Shooting At The Moon" album being sampled on the tune called *Panther*(very cool).

Now..., I have a Henry Cow question. It was written way back in August 1997 that ReR Records was going to re-issue Henry Cow's "Legend"(the original mix) in the near future on CD. Is this project still in the works, and when will it be re-issued on ReR??? Anyone know where I could possibly purchase the *original mix* of Henry Cow's LEGEND on CD???

To conclude...; Why in the heck don't any of these Canterbury bands ever tour Canada dammit!!! :)


Host of "Out-Bloody-Rageous!", CJAM 91.5FM, Univ.Of Windsor, Canada

[I haven't heard that particular Ultramarine CD, but the title "Lights In My Brain" would suggest that they're using a sample from Soft Machine's "Lullabye Letter" : "I've got lights in my brain/We'll have fights in the rain..." - AL]


From: "msebek" <msebek@cro.cz>
Subject: Strasbourg Gong gig
Date: Fri, 17 Apr 1998 14:53:12 +0200

Hello Aymeric,

This is Milos Latislav from Prague, CR. I plan to visit Gong gig in Strasbourg at May 1st with some friends. I am afraid this gig may be sold out when we come to place at the day of concert. Is there some possibility to know some contact (phone, mail, fax) to concert organisers and reserve tickets? If you can help me, mail me please at msebek@cro.cz or milos@muzikus.cz (first adress is better).

Thank you

Milos Latislav

[If anyone on the list can help Milos, I think our Czech friend will be most grateful ! - AL]


From: Age Rotshuizen <age@xs4all.nl>
Subject: Tom Cora's died
Date: Fri, 17 Apr 1998 09:06:35 +0200


Tom Cora may not be a key figure in the Canterbury field of music, but he
played with Fred Frith in The Skeleton Crew, so I think this might be of
interest for some of us. He died, age 44, after suffering some time from
lymph gland cancer.


[I was very saddened to read of Cora's death, although I was not that familiar with his work, except obviously for Skeleton Crew and a few bits. I'd seen him play live once, with a shortlived band that featured Chris Cutler and Maggie Nichols at 1990's Grenoble Jazz Festival. A vivid memory of that gig is Cora putting his cello on his knees and playing it as if it were a guitar during one piece. A funny *and* musical moment - AL]


From: Theo Travis <100701.3031@compuserve.com>
Subject: John Marshall
Date: Sat, 18 Apr 1998 09:31:06 -0400


I thought you might be interested to know that John Marshall has a new improvising trio called Marshall Travis Wood who have just released a CD called Bodywork. You can read all about it (and hear some real audio) on my site at



Theo Travis


From: age@xs4all.nl (Age Rotshuizen)
Subject: Wyatt re-releases
Date: Sun, 19 Apr 1998 00:18:41 GMT

The record company of Robert Wyatt in the US appears to have been releasing a few of his previous solo-pieces, i.e. Rock Bottom and Ruth is Stranger than Richard. Has anyone seen them in stores yet? What's the difference with the Virgin re-issues?



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

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

Apr 22 - Stoke-on-Trent, Wheatsheaf
Apr 25 - Lewes, All Saints
Apr 26 - Leeds, Duchess of York

Apr 30 - Bethune [near Lille] (France), venue unknown
May  1 - Strasbourg (France), Laiterie
May  2 - Nancy (France), Terminal Export
May  3 - Vitry-le-Francois (France), Cafe Musiques
May  5 - Ploemeur [near Lorient] (France), Oceanis
May  7 - Blois (France), Chateau d'Eau
May  9 - Perpignan (France), Mediator
May 10 - Montpellier (France), Mimi La Sardine
May 11 - Toulouse (France), Bikini
May 12 - Bordeaux (France), Theatre Barbey
May 14 - Paris (France), Bataclan
May 15 - Rennes (France), Salle de la Cite

May 23 - Diss, Norfolk (England), Park Hotel [tel: 0137.985.4206]
May 31 - Utrecht (Netherlands), Tivoli (tbc)
Jul 18 - Kassel (Germany), festival appearance (tbc)

[Daevid Allen-Mark Kramer-Hugh Hopper-Pip Pyle]
Jun 16 - Leeds, Duchess of York
Jun 18 - Ashburton, Lanterns

May 24 - San Francisco (CA), Great American Music Hall [tel: 415.885.0750]
May 29 - Los Angeles (CA), The Gig [11637 W.Pico Bld] [tel: 310.444.9870]

[Peter Blegvad-John Greaves-Chris Cutler]
Jun 12 - Tokyo (Japan), Star Pins Cafe
Jun 13 - Tokyo (Japan), Star Pins Cafe
Jun 14 - Tokyo (Japan), Star Pins Cafe

May 20 - Brighton, The Concorde
May 21 - Ashburton, The Lanterns
May 22 - Southampton, The Gantry
May 23 - Bury, The Met
May 24 - Sheffield, The Board Walk
May 26 - Chester, Tellford House
May 28 - South Shields, The Cellar Club
May 29 - London, The Weavers
May 30 - Basingstoke, Fairfields Arts Centre
Also :
May 16 - Coutances (France), Jazz Sous les Pommiers (Festival)

May  2 - Paris (France), Peniche 'Le Six/Huit'
May  9 - Fontenay-sous-Bois (France), Le Comptoir du Monde
May 19 - Paris (France), Le Cavern
Jun 15 - Paris (France), Peniche 'La Balle Au Bond'
Jun 29 - Paris (France), Duc des Lombards
Sep  3 - Paris (France), Petit Journal Montparnasse
Sep 11 - Paris (France), Le Glaz' Art
Sep 18 - Paris (France), Studio des Islettes
Sep 19 - Paris (France), Studio des Islettes

Apr 20 - Los Angeles, Spaceland
Apr 23 - Austin, venue tbc
Apr 24 - Houston, Mary Jane's
Apr 25 - Memphis, Young Avenue Deli
Apr 27 - Chapel Hill, venue tbc
Apr 28 - Chapel Hill, venue tbc
May 01 - Syracuse, Hungry Charley's
May 02 - New York City, venue tbc
May 05 - Boston, Middle East
May 06 - Providence, Century Lounge

May 18 - St. Etienne (France) (with Louis Sclavis/J-P Drouet)
May 29 - Tullins (France), MJC (with Noél Akchoté)
May 30 - Figeac (France) (with Louis Sclavis)

Apr 24 - Rostock (Germany), Zabrik
Apr 25 - Amsterdam (Netherlands), Bimhaus
Apr 26 - Utrecht (Netherlands)
Apr 28 - Unterschleisheim (Germany), Burgerhaus
Apr 30 - Ulrichsberg (Germany), Jazz Atelier
May  1 - Willisau (Switzerland), Rathausbühne
May  2 - Le Mans (France), Jazz Festival
May  4 - Gent (Belgium), Vooruit

May 2 - Tokyo (Japan), Pit-Inn (Shinjuku)
May 3 - Tokyo (Japan), Pit-Inn (Shinjuku)
May 4 - Tokyo (Japan), Pit-Inn (Shinjuku)
May 5 - Tokyo (Japan), Pit-Inn (Shinjuku)

All Sunday nights at The Vortex
[139 Stoke Newington Church St, London N16]
feat. various combinations of the following musicians :
Elton Dean, Jim Dvorak, Paul Dunmall, Simon Picard, George Haslam, Marcio Mattos, Alex Maguire, Liam Genockey...

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

                        END OF ISSUE 90

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