Lapis Lazuli double live CD featuring Damo Suzuki – with thoughts from Adam Brodigan

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Without doubt currently Canterbury’s most innovative and questioning band, Lapis Lazuli have just released their sixth album, this one a double CD of improvisations, the first capturing their recent performance with ex Can vocalist Damo Suzuki in nearby Ramsgate last September, the latter a series of 8 individual pieces recorded in the studio. The band’s drummer and founder member Adam Brodigan took time to answer a few questions in our latest interview feature.

The first time I saw Lapis Lazuli was at the ‘Canterbury Sound’ Day in 2017 when assorted academics, musicians and writers assembled to not only speak about the genre that we all know and love but to listen to an excellent programme of music including Soup Songs, Jack Hues and the aforementioned Lapis Lazuli. At one point during their blindingly manicured set, the luminary standing next to me, who really should have known better, asked me whether I thought the music was improvised, something of a travesty considering we were listening to two tracks from ‘Wrong Meeting’, possibly the most densely crafted music since the composed work of Henry Cow. Their masterpiece ‘Brain’, released at the end of 2018 was even more meticulously and adventurously structured.

The irony of course is that since that Canterbury gig Lapis Lazuli have started to regularly perform improvised pieces, both live and in the studio. Having heard some of their early excursions (released as a bonus side on the vinyl version of ‘Wrong Meeting’) it would appear that the band have been simultaneously dabbling in improv for quite a while, although ‘Hi Jazz’, as it was collectively known, is probably best described as some initial thoughts from which some of their structured ideas have emanated from. However, the appearance of the extraordinary video ‘Shall We’ rather took this further, a precisely timed 30 minute romp from around the time ‘Brain’ was recorded. Whilst much of this is frankly a row, there are genuine moments of inspiration and coherence and it captures the band’s exuberance as fantastically as hearing them perform any of their 5 studio albums to date.

The bonus material from ‘Brain’ (available as a free digital download if you purchased a vinyl copy of the album) continued the experimentation: whilst some of the tracks are clearly pre-prepared, such as the mellow version of ‘Low Key’, and the magnificent ballad ‘The Slowening’, others are not, and again, this was a blend of the inspired and the exploratory.

Which takes us to the band’s sixth release – the Damo Suzuki recording is a single stream-of-consciousness performance lasting over an hour, which slowly develops from its initial warped churchy, distended feel into a series of slow grooves and funk licks, embellished by Suzuki’s various vocal techniques: spoken word, a fulsome growl here and there, and even some bluesy crooning. I’m aware that Suzuki’s tours often involve him appropriating pick-up bands en route (my good friend, the late Mick West, was in one such when Suzuki played in Hebden Bridge a few years back) but hadn’t realized the process was quite so ad hoc. Adam Brodigan takes up the story “We had quite literally not met Damo, played with him, talked on the phone or anything until about 6pm the night of the gig!”

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But the gig at Ramsgate Music Hall, from which the recording was taken, was far from an accident: “We had got our spot supporting Gong at RMH (in July 2017) because their sax player Ian East had started coming to the Crash Of Moons Club nights I was putting on, at the time in Bramleys, Canterbury. When he told me Gong were booked there, I convinced him to put Lapis as support. That was our way into the venue. After that, Andre and Al (from the venue) were both very impressed and happy with the band, so much that they then booked us for the Acid Mothers Temple support (later that year), and we then went and recorded our album ‘Brain’ with Al at his studio. We were therefore RMH’s first choice for Suzuki’s ‘Sound Carriers’ once they had secured him for the Kent leg of his tour.”

So how does a gig with such an unknown quantity work? “We were told to simply follow his lead, as he probably wouldn’t look round to us, and he’d just do his own thing. It was all spontaneous, the only thing we worked out was who went on stage first, based on choosing numbers, which was his idea”

Suzuki’s vocals are slightly distant, echoed and somewhat spookily appears as almost a commentary on the music or the prevailing atmosphere – a work colleague of mine described a Suzuki gig he’d attended in London as something of a shoutfest, but this is far from the case here. The words themselves might be indecipherable but there is subtlety and coherency as the band adjust to the vocal overlay, or him to the music manifesting around him.

The second CD is a somewhat different beast, shorn of vocals and with many more of the trademarks of the ‘core’ band. ‘Louis Padilla’s Muzik Uzi’ (a cursory examination will reveal this is an anagram of the names of the performers of collaborators from Disc 1) does also contain pieces which are clearly off the cuff performances, and for me the tracks at the more aggressive end of the spectrum (such as the brief riff ‘Free Haircut’) perhaps fare less well, serving as microcosms of some of the more dissonant workouts on previous improvs. ‘James Black’, a jarring funky workout is symptomatic of this – tremendous sparring but never quite finding that knockout blow. But ‘Tribe of Tribes’ gives a lovely hint of what is to come throughout the better half of this album with its mellow bouncy bass theme, whilst drums chatter and guitars noodle. And the last four tracks, sharing 35 minutes between them, are universally excellent. ‘Abrubtion’ continues the bass groove backed by ever more frenetic drumming, ‘Cheap Minor’ starts off slowly but etches out a haunting guitar theme. Best of the lot are the last two pieces: ‘Untraceable Customs’, a superb track opening out from its sirenic guitar to slither into a hypnotic drum and bass rhythm, mellow yet propelling, reminded me of Hugh Hopper’s ‘Hughscore’  in its underlying vibe, topped off by the best guitar interplay on the album. And last up is ‘Sea’s Harp Apocoly’, with its atmospheric midi’d sounds, crafted guitar lines and unmistakeable funked up bass – this could almost be an outtake from the more laid back parts of ‘Hired Soul’ or ‘Falling Line‘ from ‘Brain’. What’s interesting to these ears is that a band so well defined on their composed pieces by Adam Brodigan’s constantly shifting time signatures and Luke Mennis’ dexterous bass playing so easily shifts into extended groove mode in these improvs, providing the space up top for the dual guitar approaches. And ‘Sea’s Harp’ is symptomatic of many tracks on the album that appear so well-formed that it’s difficult to fully accept that these ideas could be straight out of the box.

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This is the first recorded excursion for Martin Emmons who has replaced Dan Lander on rhythm guitar – quite how his interplay with Sullivan will match the sublime intertwining the latter achieved with Lander will probably have to wait until the next composed release: these recordings normally take the form of one guitarist providing the soundscapes, whilst the other etches out a motif.  Of the latest personnel change, Adam was at pains to point out that this was symptomatic of the band being more of an open door than a revolving one:  “The band started life as a four piece, the guitarist of which was a big Hendrix and Ben Harper fan, (and) had a solid, smooth sound. He left and was replaced by Dan, who had a far more aggressive, angular approach, as we expanded to a six piece. We also changed bass players – Luke is the fourth we’ve had! Boiling down to a five piece for ‘Wrong Meeting’ made us lose quite a lot of the palette of sounds we had enjoyed previously, and again losing the sax reduced dramatically the ‘vintage’ and jazzier sound we had adopted.” These earlier line-ups are captured on Youtube performances and often include accordion, trumpet, extra percussion and a much more catholic set of styles. Adam continues, “changing guitarists for the third time has indeed brought a new sound, and as we prepare to write new material it is very clear Martin will take the band elsewhere.”

“Lapis has always been very flowing – no restrictions have ever been imposed within the group on how to tackle composition. It becomes very natural therefore to hear the metamorphosis of the band’s sound as you go from the 2012 material to the latest stuff. ‘Brain’ became grittier and heavier due to the dominance of guitars and Luke’s particular love of ‘spicy’ chords and cross rhythms.”

And as to the band’s burgeoning relationship with improvised music, “our first fully fledged live improvised set came about when Sam Bailey booked us for one of his avant-garde Free Range nights in Canterbury. After this, we played a Crash Of Moons improv set, and a secret warm-up gig for the Damo show, again purely improv. Our recent album launch show was a mix of pure improv, jams of the grooves from ‘Louis Padilla’s Muzak Uzi’, the 20 minute ‘Reich’ (from ‘Wrong Meeting’) and a tune from ‘Brain’. We have only just taught Martin ‘Reich’, and we plan on getting him to grips with ‘School’ from the same album too, so that we have plenty to go between at shows whilst heading toward new compositions.” What was evident from the gig I saw in Canterbury last June (for me one of the musical highlights of the last decade), where Martin made his debut and the band performed ‘Low Key’, ‘And Stay Out’ and ‘The Slug’, all from ‘Brain’, is that the new guitarist barely dropped a note in the performances of these fiendish pieces.

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I put it to Adam that it must grind one down putting so much obvious effort into an existence which is so criminally underrecognised. “It is a labour of love- we keep the small amount of cash made in a pot for band spending, so have to keep our dayjobs and make sure our lives can cope with the band! It has meant avoiding some of the traps in life that would otherwise make this sort of thing impossible. 

“Playing shows where people commend your work passionately helps very much. We do not have a massive reach, and are in no way a ‘big’ band, yet some people show such amazement at our shows that it makes the thing even more worthwhile, mixed with the simple pleasure of trying to get from the very beginning to the very end of one song!”

As I write, the band are just about to head off to France for a 4 date tour “we try to do that every couple of years at least” , and there are further compositions in mind. “There are ideas the other members of the band have been putting forward to work on as new material, which we will start looking at very soon. As for festies, we seem only to have Sonic Rock Solstice and Smugglers Festival this year, – we do hope for a few more though!

Watch this space… Thanks to Adam for agreeing to answer a few questions.

Previews and ordering of all the Lapis Lazuli discography here:

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Fred Baker featured!

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Just back from a post-Christmas trip to my native Derbyshire, where my dad had saved me an article from a local monthly free magazine called ‘Reflections’ about Fred Thelonious Baker. There seems a nice symmetry about publishing something about this, as 2019 started with the Phil Miller memorial concerts, of which Fred, who was very much Phil’s right hand man for so many years, was an essential part.

The Reflections article is here

It also brought back memories of a gig almost exactly 30 years ago in Fred’s home town of Chesterfield, not long after I’d started Facelift magazine. In something of a transitional stage of my life, I’d briefly left Manchester and was camped up for a month or so in nearby Matlock with my parents, and had persuaded my dad, an old jazzer, to accompany me to see Elton Dean and John Etheridge. It was a lovely moment when our musical worlds collided – my dad was intrigued to see Stephane Grappelli’s guitarist, who also happened to be one of two ex-Soft Machinists performing. It was also my own live introduction to Fred, and he clearly made quite an impression. Interestingly enough I talked this year at a Soft Machine gig with John Etheridge about this particular band, although I’m still not entirely sure who the drummer was that night. If it was indeed, as is suggested online, Mark Fletcher, then that is also neat symmetry given his phenomenal performances at the Miller memorial gigs.

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Great to see Fred covered in such depth here and given the stories of his own family history, it clears up any doubt as to where his trademark middle name emanates from! And, Fred if you do celebrate your 60th birthday with a solo performance in the Crooked Spire (Chesterfield’s baffling landmark) then I’ll be there…

The review from Facelift Issue 3 is below:

Elton Dean/John Etheridge Quartet – Chesterfield 14th December 1989

Two figures from contrasting eras of the Soft Machine at work here: both are now respected figures in the British jazz scene. The gig itself was billed as ‘fusion’, and indeed, given John Etheridge’s influence over the material, it was some distance away form the type of music Elton Dean performs with his own quintet and quartet. That said, the band appeared to approach the various composite styles in turns, rather than produce a hybrid sound as Phil Miller might. The band played two sets of very lengthy compositions ranging from the free improvisation of a John Coltrane number that I’m certain contained mutilated segments of ‘Seven Drones’, to Etheridge’s flurried, meticulously-structured solos. Etheridge spent the entire gig on his semi-acoustic guitar, producing a sound much closer to the likes of Django Rheinhardt than the strident guitar-hero tones of ‘Softs’ or ‘Alive and Well…’ and sounding all the more accomplished for it.

The real revelation of this band, for me, was Fred Baker: the fretless bassist who succeeded Hugh Hopper in In Cahoots Quite apart from laying down some fairly uncompromising rhythms, two or three times he was allowed to take fairly lengthy solos not only showing a dexterity that most guitarists would have been proud of, but producing some genuinely moving passages, rare for a bassist in an entirely solo environment. One almost takes for granted Elton Dean’s biting intrusions into the line, but no better testament to his talent came during the encore, when, seemingly isolated by an esoteric excursion into the blues by Baker and Etheridge, he almost casually unleashed a ferocious assault on the eardrums on his alto. It’s often difficult to see if there are any new directions left to take in music: this quartet, with the possible exception of Fred Baker, certainly weren’t breaking any new ground, but the music they produced was far more than the tired restatement of ideas that many ‘fusion’ bands seem to be content with.

There are lots more old Facelift articles at

MPH: Taxonomies (Discus Music) (Alex Maguire, Martin Pyne, Mark Hewins)


Wholly improvised music doesn’t hit my radar much these days – gone are the days when some of Elton Dean’s more obtuse workings arrived through the postbox with a reverberating clunk – and a slight nervousness on my part as to what they might contain musically. ‘Taxonomies’ is the opposite – an album I actively sought out as it was clear on hearing the first few bars on Bandcamp that this was an album not only worth pursuing, but likely to involve rewards for repeated listening.

Some context: this is a collaboration between three musicians, two with a clear Canterbury vintage. Guitarist Mark Hewins is something of a hero in these quarters: he pursued many of our mutual inspirations to Canterbury in the Seventies where he collaborated with the likes of Dave and Richard Sinclair and Graham Flight in the Polite Force, resurrected Soft Heap with John Greaves, Pip Pyle and Elton Dean in the Eighties, and collaborated with Hugh Hopper extensively in the Nineties. He also pioneered the Canterbury scene’s presence on the web with, and remains particularly  active in convening various Canterbury ‘supergroups’ of sorts – a resurrected MASHU with Shyamal Maitra and Jack Monck this autumn in Gasny, plus a current collaboration with Lyn Dobson (from Soft Machine’s ‘Third’) and Eric Peachey (Khan). Pianist Alex Maguire was a long-time collaborator with both Pip Pyle and Phil Miller and architect of the remarkable memorial concerts which celebrated the musical legacy of the latter at the start of 2019. Martin Pyne is the multi-faceted percussionist player who completes this rather excellent trio.

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‘Taxonomies’ is relatively sonically benign for the most part: with piano and vibraphone providing wonderfully organic sounds, often in tandem, whilst Hewins alternates between etched out guitar textures one will recall from his ‘Adreamor’ album with Hugh Hopper, and some subtle bluesy themes. Best of all are the opener ‘Tormentil’, where Maguire’s tinklings recall Sophia Domancich’s beautiful melodies on Pip Pyle’s ‘Up’ (common ground here as both were latter-day keyboard players with Hatfield and the North), set against some gently propelling hand drums from Pyne. Or ‘Finger Muscle’, a sleazy jazz growler with cascading piano and vibe brought back to base time and time again by Hewins’ guitar. The eerie building of atmosphere within ‘Meadowsweet’ and the beautiful chimes of ‘Eyebright’ set against the gentle pitter patter of percussion, are also fine moments.  Elsewhere the soundscapes are more questioning, particularly further into the album, where Maguire’s spooked out Hammond organ, particularly on ‘Purple Loosestrife’ conjures up visions of a somewhat nightmarish fairground ride.  Or ‘Rocket Larkspear’ where Maguire’s virtuosic navigation around his piano creates a Keith Tippett-like pummelling of the eardrums.  These later tracks are not an easy ride, but shouldn’t detract from some of the simple beauty of many of the earlier themes in the album.

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Just an explanation of the various exotic titles here: ‘Taxonomies’ was recorded live over two days, taking its inspiration from a variety of unusual fauna and flora, and is namechecked not only in its track listings but also captured in Mark Hewins’ stunning photography contained in the packaging surrounding this unusual release.

‘Taxonomies’ is one of many innovative releases on the excellent Discus Music label – to order please visit



Shooting at the Moon – The Collected Lyrics of Kevin Ayers (Faber Music)


Perhaps it’s surprising there’s never been a Kevin Ayers biography. In many ways, of the all the Canterbury scene artists, Kevin was the one flecked with stardust, the one who (almost) transcended into the mainstream. Yet in most Canterbury scene accounts Kevin is almost forgotten, his exposure limited to his involvement with Soft Machine’s pioneering psychedelia, or perhaps to the lunacy of the Whole World. Conversely you will often come across people outside of the scene who have an attraction to Kevin without any affinity to where he came from musically.

The closest there came to a biography was Martin Wakeling’s ‘Why Are We Sleeping’ fanzine, and because Martin became a close friend around the time of Facelift’s infancy, I received a kickstart education in Kevin’s history, his foibles and his tendency to disappear to the sun at the point at which he was just about to assume star status. Kevin collaborated with contemporary musicians I knew and loved in the Nineties: the Wizards of Twiddly and Ultramarine, and through the former (who had become his backing band) I attended many gigs which combined consummate musicianship with his own languid charm. I was aware anecdotally that this didn’t reveal the full story and by the  last time I saw him, in 2006 in, of all places a snooker club in a fairly rough suburb of Manchester he had retreated so far into his own bubble that the only lights he would allow were those from the emergency exit door. It was still a fabulous memory. In the last few years I’ve become fascinated by the Deia connection which embraced principally him and Daevid Allen but also many others with Canterbury scene connections, and so soon after a recent visit (where I chatted with people who knew him well) it feels particularly relevant to see this compendium.

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Photo: Claude Gassian

So – whilst ‘Shooting At the Moon’ is not a biography, it is at least a long overdue recognition of Kevin’s talents by someone in the best position to appreciate them – Kevin’s daughter Galen, herself a musician, now based in the States (she has recently released an album called ‘Monument‘). Various interviews surrounding the release of this book have painted a warts-and-all picture of the relationship between Galen and her father, or more pertinently the reality of propping up a character whose disarming demeanour masked a considerably more complex story. This is not an attempt to either hide or embellish the complexities of Kevin’s persona, it is instead a charming coffee table selection of lyrics from all Kevin’s solo albums, beautifully presented, with as many lyrics as possible presented from Kevin’s beautiful own handwriting (whether or not these were transcribed at some point for such a purpose as this book, an aide memoire for concerts, or even originals is not clear, although there’s a fascinating amount of material that was clearly work in progress at some point).

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Photo: Ronald Kienhaus

The book is full colour, softback with lavishly reproduced publicity photographs, photostrips, marketing material, press clippings and some clearly from Galen’s and others’ personal collections. Each album is represented chronologically, a song to each page, with each release accompanied by at least a couple of artefacts and preceded by a quote, either from Kevin or his collaborators. Galen sought out fans’ feedback around 6 months ago about what Kevin meant to them and some of these thoughts are collated at the back of the book as well as various artefacts such as gig tickets which arrived presumably at the same time.

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Photo: Claude Gassian

There are introductions to the book, an eloquent summary by John Payne, a succinct and loving note from Robert Wyatt, and some personal thoughts from Galen, although her personal mark is in fact all over the project in its lovely presentation, alongside some touching photographs of her and Kevin together in her childhood. I suspect if Ollie Halsall had still been alive, he would also have contributed – pictures of his collaborations with Kevin are conspicuous and the Deia connection is captured pictorially on many occasions.

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with Galen Ayers

And if I’ve not commented on the lyrics themselves, then I’ll leave them to you in their entirety to peruse and dissect: often their languid nature mirroring the laid-back nature of the songs; the lapse into silly ditties Syd Barrett style (although Kevin’s were always more knowing); the occasional wry philosophy; the stories of the bon vivant and the lover in his many guises; the cod-tropicana; and the blues-tinged self-references. The one time I did meet Kevin at close quarters, for his live session with the Wizards at BBC Radio 5 with Mark Radcliffe, in one of the most memorable musical evenings of my life, he was effortlessly charming, witty and somewhat baffled by the hectic nature of the furore he had created around him. He craved privacy but attracted adulation. I hope he would be proud of the body of work preserved so lovingly for him here.


Order signed copies of ‘Shooting At The Moon’ at – where you can also buy Galen’s album ‘Monument’

Alternatively order direct from the publisher at





Steve Hillage Band and Gong, Liverpool O2 Academy Saturday 23 November

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Steve Hillage

After a 3 gig taster in the summer, the Steve Hillage Band set out on a much larger tour in early November, this time with a twist – not only would the current Gong band be the musicians backing Steve and Miquette Giraudy for their extended 2 hour sets each evening, but Gong themselves would be the support act each night. Interestingly enough, this reverses the scenario from exactly a decade ago when Steve, who was then Gong’s guitarist, promoting the ‘2032’ album, did the support act to Daevid Allen’s Gong with a Steve Hillage Band consisting of himself, Miquette, Mike Howlett and then Gong drummer Chris Taylor.

I’m not sure I’ve ever seen a bad gig in Liverpool – I suppose part of that experience is that whilst I’ve  dropped in on many gigs casually in Manchester over the years, every trek down the M62 has been for a special event of some sort.  Plus audiences here seem determined to have something of a party. There’s certainly little standoffishness. The O2 Academy is somewhat more welcoming than its sister venue than the Ritz in Manchester– queues are more manageable, security almost human and the venue, upstairs on a sticky dance floor, somewhat less congested, to the extent that it was possible to navigate around to different spots in front of the stage without seriously cheesing off your fellow gig-goers.


Kavus Torabi

Gong sensed it too – relatively early in the set Kavus Torabi, already beaming from ear to ear, was encouraging the audience to levitate the dance hall and ‘lose their shit’. The band played for an hour but it felt like longer – it was certainly intense enough for one to have quite legitimately wandered away at the end of their set being satisfied with the evening’s events on Gong’s performance alone. The band played 5 tracks, the new opus ‘Forever Reoccuring’, imbued with transcendental atmospherics and a lovely new twist where vocals (whose lyrics I could not fully decipher) embellish the rising mid-piece section; a rather splendid version of ‘Rejoice!’ where Kavus pulled out an extraordinary guitar solo; ‘You Can’t Kill Me’ with an unexpected highlight when Dave Sturt’s bass sound packed in, memorable because of his bisonesque re-joining of the fold once order was restored (“I WAS quite angry”, he later told us); ‘Sawtooth Wake’, a polyrhythmic assault on the ears interspersed with some sweet multi-harmonised vocals; and finally ‘Insert Yr Own Prophecy’ which appears to have become the set-ender of choice, particularly with ‘Master Builder’ off the menu, for reasons which will become obvious. Personally I’d have selected ‘The Elemental’ as my closer and worked backwards – its guitar crashing and discordant vocal harmonies are completely the calling cards of this particular band.

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Ian East


There are interesting parallels here from a gig I saw in Liverpool in the Nineties where the Wizards of Twiddly played a solo set and then backed Kevin Ayers for the main event. There was a clear contrast then between the Wizards’ madcap lunacy and Kevin’s languid tunes, and whilst there is less distance between Gong and Steve Hillage Band in terms of genre, Gong were also clearly not out to make up the numbers: their performance was a total barrage on the senses: cacophonous, embracing and utterly uplifting – if Kavus had indeed helped to levitate the building it would also have taken a small army to scrape the audience back off the ceiling.

Not that there was much respite. Assembled in pretty much the same order on stage, the core Gong band were augmented in the centre by Steve Hillage and Miquette Giraudy (on keyboards) for the main event. Set against a mesmerising backdrop of visuals and some fairly intense strobes, the Steve Hillage Band continued an all encompassing sound built around Steve’s effortlessly fluid and often blistering guitar work. If I can’t recall note for note the entire setlist, there was familiarity everywhere: entire swathes of ‘Fish Rising’; big chunks of ‘Green’, some of the celebrated ‘covers’ such as ‘It’s All Too Much’ and ‘Hurdy Gurdy Man’ and more novel outings such as ‘Om Nava Shiva’, ‘The Fire Inside’, the jaunty ‘Motivation’ and a rousing ‘Light In the Sky’ (with Miquette exuberantly conducting the crowd for the chorus).



Steve Hillage, Kavus Torabi, Dave Sturt

It was great to see Ian East’s array of instrumentation and the sound of flute and tenor sax breaking through the melee – there was one memorable moment where I was thinking ‘that sounds like a bassoon’, before realising that, of course they were probably Lindsay Cooper’s lines from ‘Fish Rising’,  perfectly captured; other lines dextrously mimicked Dave Stewart’s keyboard work on the original. Elsewhere Kavus’ intricate dual guitar lines with Steve Hillage proved just how tight this band is. And every time you looked stage right there was Fabio Golfetti, implacably conjuring up the atmosphere on glissando guitar. We were musing later on in the pub (with some of the band) on the phenomenon of the glissando sound: I regard it as a gift from Daevid Allen to an entire genre of music – this otherworldly, evocative sound underpins so much music I listen to that it’s almost become a soundtrack in its own right (or as Billie Bottle recently put it, in relation to Brian Abbott, ‘a heavenly chorus (of teapots)’) The assembled number agreed that Fabio’s work in this regard is only rivalled by Daevid’s own. It’s funny what personal recollections you come away from gigs with, but another memento was when most of the band seemed to congregate around the drum kit which, due to the visual projections at the time, placed  Cheb Nettles at the base of a pyramid – intentionally or otherwise this seemed symbolic  in terms of his phenomenal contributions to the band’s base.


Miquette Giraudy

In terms of tracks: well, the ‘Dervish Riff’ weaved away as bewitchingly as ever, ‘Hurdy Gurdy Man’ truly wigged out in its instrumental extension, but for me the highlight of the set was ‘Ether Ships’, in its remarkable simplicity and intensity – Steve, with his head slightly cocked to the side, subtly building up the anticipation rave style – it was as if time was suspended for a brief moment whilst we were working out which way things would break. If ‘Master Builder’ was the expected encore, it did not disappoint, less grandiose in its airing than the current Gong’s version, but memorable as all members of the band (bar the drummer) out front, singing the IAO chant well into the main riff. And, as this audience clearly weren’t willing to let the band go even at this late stage, they finished off with ‘Never Glid Before’, an instrumental version of almost deranged tempo, gradually upping the ante to its glorious conclusion.

Back down in the foyer, punters were gathered in front of the GAS stall, reinforced with extra personnel and artefacts, Kavus and Dave Sturt mingling amongst them and spreading the bonhomie of an extraordinarily upbeat night. Later in the nearby pub Ma Egerton’s, just a hint that the band were starting to wind down a little towards the end of what must be a gruelling night after night schedule, nice chats with Dave and Kavus (who was fighting off adulation from all-comers), a brief word with Ian East in amongst a small collection of Gongheads including several Kozfest veterans and Tom Ashurst who has recently shared bills with both Gong (at HRH Prog) and Here and Now. Finally, a long conversation with Fabio Golfetti, with whom I have been corresponding for 30 years (with the promise of more to come). And I might even have spotted Cheb Nettles briefly, but one can never quite be sure….

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with Fabio Golfetti

Invisible Opera Company of Tibet: Jewel in the Lotus 25th Anniversary issue – interview with Brian Abbott

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When the Gong Appreciation Society branched out in the early Nineties to provide an excellent record label covering Gong and related acts, one of the first releases to appear was a short CD of studio pieces credited to the Invisible Opera Company of Tibet entitled ‘Jewel in the Lotus’, alongside a lengthy live track featuring Daevid Allen as a ‘guest’. The band also took their place at Gong 25 in London during 1994 in that 2 day celebration of Gong and its wider family. 25 years on and the album has been re-mastered and re-released with several key differences – in fact almost half of the material here is new. Its curator and ever present band member, Brian Abbott is justifiably proud of a release which brings together the entire original recording session. He kindly agreed to answer a few questions relating to this release and the band in general.

As we mentioned  in our review of their live CD ‘Surfing The Wave of the Mystery’ earlier this year, the term Invisible Opera Company of Tibet has special significance for Gong fans: references to it occur as far back as the early Seventies. I asked Brian as to his understanding of the term. “I believe it’s always been a part of Daevid’s mythology and the whole Gong story. According to Daevid’s  ‘Gong Dreaming 2’  book The Invisible Opera Company of Tibet are a group of ethereal lamas through which the Octave Doctors broadcast their music. They are said to reside in a cave high in the Himalayas.  They are a conduit through which the Gong vibrations issue forth.”


Invisibles flyer of unknown vintage from the Facelift archives

The first time I came across the term in a gigging context (or something approximating it) was also the first time I saw Daevid Allen perform – live in April 1988, soon after his return from a long exile in Australia. In an extraordinarily transformative gig, set somewhat anachronistically against the backdrop of the Afro-Caribbean ‘Hummingbird’ club in central Birmingham, with hefty bouncers everywhere and the constant clank of beer glasses, this was far removed from not just any preconceptions one might have had that Daevid might be about to launch a new Gong, but also from practically anything we’d heard from the Daevid Allen repertoire, although it gave some indication of what he might have been up to during his ‘exile’. I can remember the gig vividly over 30 years on, with Elliett Mackrell (later of Kangaroo Moon) on violin and Wandana Bruce on harmonium and voice whilst Daevid predominantly sang simple ballads and devotional chants, interspersed with the odd rather more humorous sample-based material. I can still remember the audience, many sitting cross-legged, listening to this very gentle music, whilst incense chugged out from stage. There was a fourth member too sat in the gloom to the right of stage: I vaguely remember him being introduced as Brian Abbott, a name which did mean something to me at the time (for reasons which will become clear), but as he was playing tablas, (and as we all know Brian is a guitarist), it was only a recent email exchange which confirmed that it was indeed Mr Abbott on percussion.

A series of gigs in 1988 and a number which followed were billed as the Invisible Co-opera. Brian’s name was already familiar to me as the custodian of GAS from what I had also mis-remembered as Ottery St Mary in the West Country (something I’ve just realised I’ve convoluted that from the fact that Harry Williamson recorded a musical interpretation of his father Henry’s ‘Tarka the Otter’ book in Devon). Brian takes up the story: “I started running GAS in 1981.  Everything then was with Gilli and Harry in North Devon.  Initially I just made contact on a friendly basis, (and) went up to stay a few times.  They were putting together Robot Woman 1 (LINK) at the time.  They had a few cassettes that they did via mail order.  Ark Redman was doing that from Ox’s Cross where they all lived.  So in 1982 they were leaving for Oz and the cassette side of things would stop.  I said I would carry it on and we then between us came up with a whole load more GAS tapes for the catalogue.  I ran it as a mail order business from 1981-1988.  I didn’t make any personal money from it but just ploughed back what little money there was into it to keep it going.  In 1988 I just felt I had done my time with it and it was time to pass it on.  I was not sure who was going to be my successor but I had a lot of communications with Rob Ayling and he seemed very keen to do it, the rest is history.” In fact my own first contact with GAS would have indeed been with Brian as, somewhat wowed by Didier Malherbe’s ‘Bloom’, I began a lifelong quest to get his entire discography, starting with the GAS cassette release ‘Melodic Destiny’. But back to 1988…


Letter from Rob Ayling (GAS) re: Daevid Allen's workshops, 1988 or 89

“When Daevid first arrived in the UK in 1988 he stayed with us in a large communal farmhouse we were all living in (in) Devon.  There was then the first self initiation workshop at Monkton Wylde Cour in Dorset.  Also the first gig at Exeter Arts centre which I organised.  It was billed then as Daevid Allen and friends and it was mostly acoustic.  I played tablas and acoustic guitar.  (We played) songs that morphed into Gongmaison, old Gong songs and sacred chants.  It was sold out. Then Didier came on board when they were in the South of France.  I could no longer continue as I had work commitments at that time.  So very quickly The Invisibles became Gongmaison.” I can remember the bafflement I felt when the original workshop fliers were posted out to GAS followers, both in terms of the content and the prices, but also the excitement as the project progressed to an intensely claustrophobic but exhilarating gig in an upstairs room at the Swinging Sporran in Manchester in 1989 involving Daevid, Graham Clark and Didier Malherbe, and then on to Gong Maison in Manchester and London and onwards – by the time they played at the Going Going/Gong Maison gig Sonic Relief in October 1990 (where I interviewed Hugh Hopper) I’d seen the band a numerous times.

In 1992 Brian resurrected the Invisible Opera Company of Tibet band, but even prior to this there had been other developments involving the project name in other parts of the world. An album simply entitled ‘Invisible Opera Company of Tibet’, and actually dating back to 1987 had appeared from Australia as one of the first releases on Voiceprint Records (the label formed by aforementioned GAS successor to Brian, Rob Ayling) in a collaboration involving predominantly Daevid and Russell Hibbs, but also Gilli Smyth and Harry Williamson. Meanwhile, from Brazil, Brian had been in contact with Fabio Golfetti, these days, of course, Gong’s guitarist. “During the time I was running GAS Fabio was in communication a lot and he sent me cassettes and flexis and albums and this was by The Invisible Opera company of Tibet (Tropical version).  I remember thinking then this really has the Gong vibe, I was very impressed.  When the Australian version released their album I was also made aware of an American version.  I know they did one cassette album. It was 1992 when I had the calling to create a UK version of the Invisibles. Daevid loved it and gave it his blessing.  He loved the idea of all these different bands existing all over the world working under the same banner. It’s an interesting concept.”


Tim Hawthorn at Kozfest, 2018

On ‘Jewel in the Lotus’, Brian is joined by Jim Peters (keyboards, flute and vocals), Steve Hickeson (drums)  and Tim Hall (bass/vocals), and this is the band I would have seen at Gong 25 alongside other notable performers. “For the most part it was the ‘Jewel’ line up.  Ali Young used to be the dancer with the band but went on to pastures new.  At that gig it was Jackie Juno who debuted with us as dancer, then became (our)  backing singer.  She became the main singer in 2008 when we relaunched the band”. Whilst I would obviously have seen Tim Hall alongside the others at Gong 25, it has taken me a while to piece together his pedigree: at the first Kozfest I went to in 2016, I was aware of a rather wizardly figure appearing on stage as guest vocalist for a band called Shom (he rather stole the show), then as a solo artist Tim Hawthorn at a later festival for a performance I missed. Things only fell into place for me when he sprang on to stage with the Invisibles in 2018 for a manic rendition of ‘Bad Self’, which of course he wrote and sang on ‘Jewel’. I could be forgiven for the confusion given the fact that he goes under several names and even more styles – another early GAS CD release is the beautiful acapella ensemble ‘Silver On The Tree’ alongside other Glastonbury luminaries; he also performs with The Archetypes and has some lovely samples, most notably a cover of Robert Wyatt’s ‘Sea Song’ plus a number of traditional tunes including ‘The Snow It Melts The Soonest , which counts amongst the most beautifully sung music I have ever heard.

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Brian Abbott

Whilst I enjoyed ‘Jewel In The Lotus’ in its original format, the remastered and elongated version for me, (shorn of the bonus live version of ‘We Circle Around’ featuring Daevid Allen which didn’t entirely sit comfortably with the separate studio material), turns it into a significant coherent project in its own right. The strength of the opener ‘Om Mani Padme Hum’, is such that it took me several listens to get beyond it – it is a Buddhist chant which I’d seen Daevid (and Brian) perform in 1988, here turned into a blisteringly rocky number, inspirationally seguing into a version of ‘Master Builder’ which is amongst the very best versions of this track heard performed. This is quite brilliant. ‘All Coming True’, with vocals by Peters, and Tim Hall’s ‘Mysteries’, new for this edition but familiar from somewhere are good rousing knockabout stuff perhaps in the vein of some of Keith Bailey’s stuff with Here and Now (the sleevenotes make a reference to Britpop, which probably does it a disservice). ‘Bad Self’ is a vehicle for Hall’s latent punk sensibilities – a daft OTT performance which is wonderful fun.


Invisibles in full flow, mid Nineties

The other track from the original ‘Jewel’ is the reggae piece ‘The Size of Minus One’, which is really where I started to sit up, for it is the first of three really excellent dub pieces, which get progressively better. ‘Minus One’ is a turbo -charged number, well paced  with crashing cymbals, echoey top end drumming and a slightly otherworldly soundscape powered by the unmistakeable sound of the glissando guitar, a lesser spotted beast in the world of reggae, but as Steffe Sharpstrings has proven with Here and Now and his various dub projects, a perfect accompaniment. Even more crystal clear are the two vocal dub tracks, both featuring sweet and beautifully harmonised vocals. Both are adapted in somewhat unlikely fashion from traditional tunes – the first a pagan chant entitled ‘Goddess Dub’, the second, the achingly delivered ‘Om Tara’ presumably from Buddhist origins. Both feature guitar chops and tasty licks, roaming bass and nice keyboard touches and effects. Beautifully manicured, these tracks are as slick and refined as one could hope. Perhaps it is because these tracks haven’t been heard before, but after ‘Om Mani Padme Hum’, these are the two I’m continually returning to.

Of the revamp of ‘Jewel’, it felt to Brian like unfinished business – the original recordings had been laid down in only 2 days with many elements done in a single take on a very limited budget. “It had been in the pipeline for a very long time.  Dave Kendall the engineer was never happy with the mixes due to the constraints of time and money.  So it was something that both Dave and myself have kept simmering away, doing bits and pieces here and there.  Eventually realising this was the 25th year we decided to bring it out with all the tracks from the session.  I am very proud of it now as its been lovingly restored and polished !”

The CD comes with equally lovingly curated artwork, a trifold with photos and extensive written memories from three of the musicians plus the producer – a fitting

Invisible Opera Company of Tibet 2019

At this point it seemed relevant to ask about the current state of IOCOT – 25 years on, how has the band evolved. Recent additions have been drummer Matt Jackson and also Viv Goodwin-Darke joining from Devonian neighbours Magic Bus, joining Brian, Jackie, bass player Phil Whitehouse and keyboard player Julian Veasy. “At this point it is fair to say – find me a band that hasn’t had its ups and downs.  There have been a lot of musicians over the years that have been within this collective, too many to list here. From its interception in 1992 to the present day we have been gigging and producing music.  There have been fallow periods and difficult times but there has always been a presence. At present there is whole load of new material being written by all members of the band (with) lots of different styles emerging, it’s very exciting.  (We are) just about to start editing the new studio album called ‘the Bardo of Becoming’ based on the Tibetan book of the dead and our journey from death to rebirth.  It will be something very different, exciting and challenging.  Hopefully lots of gigs.  We’ll also be doing the Bardo live. “

All of which could include future appearances at local festival Kozfest where Brian has had a presence one way or another in each of the first 10 years’ events. “Kozfest is a wonderful gathering of likeminded souls.  Initially there was this poster circulating on Facebook with Ken asleep in a chair at a festival dreaming of all these bands that were listed around him.  Lots of people commented saying the bands they would like to see.  This soon became a reality, Kozmik Kens Psychedelic dream festival.  I said we would love to play that.  Us and a whole roll call of bands.  Because I play guitar with another band (Global) we have alternated every year since and have played them all.  Feels like home!”

Thanks to Brian for answering my questions. Lots of information about Brian and the Invisibles and a link to purchase to purchase ‘Jewel in the Lotus’ can be found at but the CD will also be available at and

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The Invisibles play a Winter Solstice gig on 21st December 2019 in Glastonbury.

Invisible Opera Company of Tibet Discography

1993 Live /studio cassette (“just found a box of new/old stock!)

1994 The Jewel in the Lotus CD (Gas records)

1994/5 Totally Bananas live cassette

2000 Open for Issness (Un released album)

2006 Totally Bananas CD

2011 Live at Sonic Rock CD

2013 Tried So Hard 7” single

2014 Songs from the Temple of Now CD

2019 Surfing The Wave of the Mystery – Live at Kozfest 2018 CD

2019 The Jewel in the Lotus (25th anniversary edition) CD


Love from the Planet Gong – the Virgin Years 1973-75 – 13 disc box set (Universal)


I’ve resisted the lure of the box set for years.  But it’s fair to say that as a regular peruser of the various social media platforms covering Canterbury scene music I’ve rarely seen a level of excitement to parallel the arrival of ‘Love from the Planet Gong’. This 13 disc box set is the baby of Jonny Greene, custodian for practically as long as I can remember of the Gong Appreciation Society and responsible at for the hub which perpetuates the wider Gong global family story even beyond Daevid Allen and Gilli Smyth’s physically departure from the Planet. This box set concentrates on a particular slice of Gong history, namely the classic Trilogy era, as well as ‘Shamal’, the album which immediately followed Daevid Allen’s departure.

I’d possibly not realised that this 4 album cycle, which most regard as containing the highpoints of Gong’s career (although that does a disservice to the wonderful ‘Camembert Electrique’) was completed in less than 3 years. It is published courtesy of Universal, or more accurately Virgin, whose confusing tussle for Gong recording rights with Byg/Charly has baffled Gong fans for generations. It’s a massive undertaking, to the extent that this box set is so stuffed with extras that even the ‘core’ albums are padded out with bonuses to reach their digital limits enabling the extra albums to be purely devoted to live performances.


As my own copy arrived rather late in the day, at the tail end of a gargantuan effort at GAS HQ to mail out individual copies of what appears to be a rather popular release, I was already hearing whispers as to what the highlights might be. Chronologically first, but at the same time hard to top, is the remastered version of ‘Flying Teapot’. It’s not putting too much of a gloss on this to say that on first play I was literally hearing elements I’d not been aware of before. Hand drums, female backing vocals, piano are previously unheralded elements of the trilogy album which often receives the least play: if ‘You’ has always been the pinnacle of the Trilogy era to me, and ‘Angel’s Egg’ its swirling predecessor, then ‘Teapot’ often gets overlooked. Where ‘Camembert Electrique’ was punky, and ‘You’ psychedelic, then ‘Teapot’ is very much the jazzy one: Didier Malherbe’s fluent saxophone work is extraordinary, Daevid Allen’s vocals roll along sleazily but at the same time Tim Blake’s ‘Octave Doctors’ reveals itself in a new sonic glory – with genuinely innovative sounds, let’s not also forget that this predates ‘Flute Salad’ as the first solo piece from an individual band member.

Whilst ‘Angel’s Egg’ and ‘You’ also are remastered, there is less of a marked distance from the originals, and so the magic bullets are elsewhere – on ‘You’ it’s an extraordinary demo of ‘A PHP’s advice’ which stopped me in my tracks – this intricate trio version of guitar, bass and vocals is a sonically cut down version of relative complexity which without doubt tops the original which I’ve always regarded as somewhat throwaway. Similarly ‘Where Have All the Flowers Gone’, possibly superior to its later New York Gong incarnation ‘Hours gone’, is a rousing piece dominated by Tim Blake’s unexpected and cacophonous harmonica.


On ‘Angel’s Egg’ it is ‘Ooby Scooby Doomsday’, previously buried for me on a taped version of the ‘Live Etc’ album, but actually a quite remarkable track in its own right, lyrically closer to Magick Brother/Mystic Sister -style anti-system posturing, and musically to ‘Camembert’, but benefitting from the Trilogy line-up for its full-blown instrumentation. It’s a lost Gong classic which is at the same time catchy, sophisticated and rather silly. Another highlight is a bonus on ‘Flying Teapot’, the ‘Radio Gnome Premix – Story Narration’ – a self-explanatory spoken word introduction to the gnomic cosmology which previously appeared on the ‘Mystery and History’ double CD of oddities, complete with a brief snippet of verse which I’d previously failed to identify as being from the voice of the much beloved oddball Lady June.

‘Shamal’ has always been the odd one out in terms of Gong albums for me. Whilst ‘Gazeuse!’ And ‘Expresso II’ are not everyone’s cup of tea (although I love them both) they are at least homogenous percussion-dominated jazz-rock of the highest order. ‘Shamal’ on the other hand sits somewhere between this and the ‘Trilogy’ material, complete its own whimsical (but not entirely successful) lyrics. It was really nice to hear this again but testament to the fact that it doesn’t quite match other Gong albums in that it had been so long since the previous time. Highlights are the funk bass of Mike Howlett on ‘Cat in Clark’s Shoes’ and the title track; some very Gallic jazz-rock which gives a hint of where ‘Bloom’ himself might be heading on ‘Chandra’; whilst ‘Mandrake’ serves as a taste of what was to come with later Pierre Moerlen-led projects.


We’re then into confusing territory for Disc 5 onwards in that parts to me were instantly familiar but I couldn’t always put my fingers on from quite where. The previously mentioned ‘Flowers’ and ‘Ooby Scooby’ were, for the unitiated, ‘lost’ studio tracks which had previously appeared on Virgin’s double ‘Gong Live Etc’ compilation, alongside various snippets of live gigs from, amongst others, the Bataclan, Roanne, Edinburgh, the Marquee and a BBC radio session. What discs 5-12 largely do is source the original concerts for each of these and reproduce them in their entirety, with added tweaking and compiling. Disc 5 is predominantly BBC Radio sessions, the first of which appeared on the ‘Pre Modernist Wireless Radio’ release from 1997, although the better half of that particular CD (with Kevin Ayers as guest) predates the Virgin years and so is not present here. In fact the highlights on this disc are the early January 74 session, with excellent clarity and fine performances, particularly on the jazzy ‘6/8 Tune’.

‘Live au Bataclan’ of course appeared in the first wave of CD releases on Mantra in the Nineties, but even that was truncated – this version is much expanded across a couple of disks. There are high points here, but as they are generally trumped by the next concert document I’ll neatly skip to ‘Roanne’. At this point you might, like me,  have been starting to get a touch of Gong-fatigue. But I have to say that the ‘Roanne’ gig is something else. Although sampled briefly on ‘Live Etc’, this did not include the ‘Other Side/Dynamite’ medley which represents amongst the most extraordinary 20 minutes I have heard Gong perform. Apparently captured at a small intimate venue on the Manor Mobile’s first outing, this feels almost like a ‘live in the studio’ project, announced exultantly with a ‘Hare Ganja’ shout by Daevid Allen before morphing into a quasi-religious incantation which is quite remarkable. All the other classic elements are here: swirling keyboards, ethereal space whisper, soaring saxophone, acute guitar interjections, all-encompassing drumming and warm, shifting bass. It all feels somewhat otherworldly as the piece morphs into ‘Dynamite’, with Didier Malherbe’s repetitive sax response to the main chant taking us almost back to the Soft Machine’s ‘We Did It Again’ mantra. More familiar ground elsewhere after this initial peak, but mention for the ‘Ooby Scooby’/’Est-ce que je Suis?’ segment, which stands up well against a particularly approximate version on ‘Bataclan’ which was rather spoiled by Daevid Allen’s jarring French accent. Interesting that the latter track was resurrected wholeheartedly for this live band having been initially aired in the very early 70s (and captured several times on the ‘Eclectique’ album), another punky dispensation.


The Hyde Park live CD is rather nifty as it features the band in full promotional glory – a precious document of the full ‘You’ band playing ‘You’ material. Particularly excellent here is ‘A Sprinkling of Clouds’ – largely absent from the band’s set list when I eventually got to see them in the Nineties (unlike practically any other Trilogy track), presumably because Tim Blake’s involvement was essential for any authentic performance. This airing is a masterpiece.

The penultimate discs are the one which catches the band in a brief moment of time between ‘You’ and ‘Shamal’ with Steve Hillage centrestage – this is not only an opportunity for the band to air those ‘Shamal’ tunes, but is almost a double header as the band work their way through a significant part of ‘Fish Rising’. Given that the band is clearly in transition, it is the ‘Fish Rising’ pieces which seem more coherent in a band context, and highlights the fact that perversely there was probably a shorter hop to this Steve Hillage solo album (which of course included many ‘You’ members) to ‘Shamal’. It also feels particularly relevant at present – as I write, the current Gong band are backing Steve in his first major tour as the Steve Hillage Band since the Seventies, themselves playing many tracks from ‘Fish Rising’. Disc 13 is, of course a DVD of Quad mixes of seminal album ‘You’ which will unfortunately require far more sophisticated equipment than I can do it justice with.


Now: the paraphernalia – the box set comes in, well a box, about 10 inches square, containing 4 separate inserts. Two house the various discs, both in  cardboard trifolds, the first containing discs 1-6 (essentially the four studio albums, the BBC live sessions and the first Bataclan disc), encased in the a reproduction of Daevid’s Flying Teapot Spotters Scroll, the second containing the remaining live CDs, plus the ‘You’ Quad mix DVD in a backpocket, these encased within various artwork including the ‘You’ cover, a Virgin press release circa ‘Angel’s Egg’ and a reproduction of Daevid Allen’s conviction certificate for dope possession in Oxford from September 1974. A further 36-page paper booklet entitled ‘lyric booklets and lyric sheets’ contains not just full lyrics but what I believe are most of the original inserts, including character casts and stories and the pink Pocket Introduction to the Planet Gong A6 booklet which you are encouraged to cut out, fold and staple! You’ll hopefully forgive me if I can’t pinpoint the exact origins of everything within this and the main booklet – everything within here has weaved its way to me at some point in assembling my Gong and Canterbury archive (for which I am indeed grateful) but as I do not have any of the original vinyl LPs I can’t tell what comes from where. No matter, for it is all now generally available to you via the box set.

The main 68 page hardbacked book is the chief exhibit, however. Starting with an extraordinary quote from Daevid Allen which I’ve not seen before essentially pinpointing the start of the Gong vision to him smoking ‘West Indian grass’ in 1961, rather than the oft-mentioned ‘seed vision’ chronicled in his first ‘autobiography’ ‘Gong Dreaming 1’, it continues with considerable commentary from Jonny Greene, much from a personal perspective, both initially as a fan, then from the viewpoint of a life fully invested in the Gong story; some splendid photos I’d not seen before; all of the original album front and back covers in full colour; and particularly valuably, contemporary thoughts from principally Mike Howlett, Tim Blake and Steve Hillage, (and also from the ‘switch doctor’ himself Venux de Luxe). Most startling is the account (from both sides) of the events which led to Tim Blake’s departure from the band which is disarming in its honesty.


The tracklistings detailed both on the back of the entire box set and within each CD trifold are reprised in much more detail within the hardbacked book, including writing and performing credits and in particular some fabulous commentary from Mike Howlett, who not only reflects on the origins of each recording and gives anecdotal detail about their circumstances, but how he has painstakingly remixed many of the performances to balance out the sound levels, alongside remastering by original producer Simon Heyworth. This is possibly the crowning achievement of the box set, in providing clear sonic improvements to even ears as untutored as my own.

You’ll hopefully forgive the fact that this review not only does not dissect each CD on display in its full minutae – whilst I’ve been listening to all parts of it in varying amounts for a month or so, I know that I will only truly get to know it well over time. It’s an exhaustive and often exhausting chronology, with enough subtle differences as it progresses to start to get a handle on the staged (but in reality relative rapid) transition from Teapot to post-Trilogy eras, with changing personnel, sounds and ultimately styles. Those of you buying it direct from Planet Gong/GAS are rewarded with a few rather nice extras: a full-size teaspotters scroll poster, a reproduction of the ‘You’ mandala in colour, some promotional stuff for both SHB/Gong and Utopia Strong tours, and 3 rather nice stickers for your collection. And the knowledge that in buying directly from the Planet Gong you have in some small way helped to support the surviving musicians from this most extraordinary musical era.

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