Custard Flux's Helium album gets a viynl release

Last years album of the year, Custard Flux's Helium, is getting a vinyl release, oh the joy! The brainchild of the Luck of Eden Hall's Gregory Curvey, Helium is focused around a harmonium Curvey found and restored, subsequently creating an album for which he wrote all songs and played all the instruments. I raved about Helium when it was released, and with good reason, it's a tour de force of musician and artist Gregory Curvey's manifest talents. You must check it out. To mark the announcement came the release of the bonus material found in the sumptuous Custard Flux Helium box edition, of which there are only a couple left. Five wonderful tracks, each one highlighting different aspects of Curvey's musical palette and creative ear. I've said it before, he's a musical magpie, sipping at infinite wells, an alchemist crafter of the unique.  A stand out track for me is Curvey's interpretation of Reed's 'Satatlite of Love', it's gentle tempo and marvellous harmonium conjures up an image of a wandering minstrel serenading someone slowly floating away from Earth. It's an inspired rendition, the harmonium is simply wonderful. This is going to be an excellent release, ''two Raspberry coloured 180g LPs featuring all 16 songs included on both the Helium and Box Set Bonus CDs, housed in a jacket with a 1/4” spine, and kept neat in a reusable plastic bag, plus a lyric sheet and a 6” x 8” postcard''. Doesn't that sound good. And it's available to pre-order now.

Custard alert!

The Luck of Eden Hall's Gregory Curvey has been whipping up second helpings of delicious and aurally nutritious Custard flux in way of a further album. He's left some on a spoon cooling for us to have a taste...and it's bloody good stuff! I thoroughly enjoyed last years first helping of Custard Flux, the fabulous 'Helium', and so was overjoyed to hear there'd be seconds (here's my review of Helium). The taster track's 'America'. 'Freedom and democracy, a place to raise a family, America' goes the chorus, although sounding like a celebration of the American dream, there's irony at play here which is confirmed by the following line 'a capitalist fantasy, insatiable reality, America'. It may also have a lovely perky upbeat melody to it, though it also has a hint of a melancholy running through it, and maybe an element of gentle sarcasm in Curvey's lyrical delivery too, which along with the lyrics themselves speak of a dream turning or turned sour...America. Wonderful and well observed, it's a beautiful sounding track too. If this is representative then, man, Custard Flux's forthcoming album release is going to be something else. If you don't know Gregory Curvey's work, firstly, you're missing out, and secondly, he's a writer and musician of enormous talent, proficient on many instruments and musically eloquent, he has an eye for detail and is a master of creative alchemy. As is customary with Gregory's sound it's wonderfully rich and resonant with fantastic flourishes, in short he's a purveyor of contemporary psychedelia at it's very best. And, this is an example of it. If I were a fish and this were bait, then I've taken it hook, line and sinker, just reel me in. Go on, give it a listen.

The Butterfly Revolutions

Far out, man! A good friend of mine gave me a really thoughtful and generous gift...a vinyl copy of The Luck of Eden Hall's 2011 double album 'The Butterfly Revolutions'. Very kind. Late to the The Luck of Eden Hall party, I happened to hear a track on a Fruits de Mer sampler CD in afore mentioned friends car back in early 2016, and immediately loved their sound and energy. I subsequently ordered their 2016 album 'The Acceleration of Time', which is a wonderful album. The following years 'Mighty Machines', was a magnificent and pertinent psychedelic rock opus for our times. And this year TLoEH's Gregory Curvey's release as Custard Flux 'Helium' is just a joy.  If you like good music I recommend you check them out, everything I've heard to date is aural joy. So, I'm looking forward to looking backward, and to hearing some of the bands earlier material. The earliest album I have is 2014's Victoria Moon, another great album. 2011 is way down the time tunnel, and I can't wait to find out what the band sounded like then!

'The Three Seasons' by various artists, out on Fruits de Mer

Over their first 10 years Fruits de Mer records have gained quite a reputation for quality recordings of distinction, it's a reputation well founded, and one they're sure to cement further with their wondrous new release 'The Three Seasons'...the Spring, Summer and Autumn of Love 66' to 68'. The Three Seasons is twenty seven tracks from the period, beautifully re-imagined by some of the cream of contemporary psychedelia, bands of the highest calibre including The Luck of Eden Hall, Cary Grace, Jack Ellister, Magic Bus, The Honey Pot and Sidewalk Society (who have already showed their credentials in this field with last years fantastic 'Strange Roads' album, also on FdM).  As well as the new kids there are two bands who experienced the cultural shift of 66' to 68' first hand! The Yardbirds and The Pretty Things, yeah I know, cool ay.  Fruits de Mer have taken a different, more interesting, approach to the 'Summer of Love' than that usually undertaken, exploring not just the heady days of summer but the early conceptual blossomings of spring, and autumn's winds of change. It's a fantastic idea, and one that FdM has nailed.

So the context is.... By 1966 the mods had discovered psychedelics and mysticism, the seeds of a Spring of Love were planted, new frontiers were opening up, the world seemed full of possibilities, potential and of promise, you can hear the change in the songs of the period. Anton Barbeau, The Electric Prunes, Kris Gietkowski, Aunt Cynthia's Cabin, Icarus Peel and Mark McDowell tackle this year, which they all do splendidly. If pressed I'd say Mark McDowells version of the Small Faces' 'Up the Wooden Hills' surpasses the original (is that sacrilege? I don't care, it's true).

Then, as 1966 becomes 1967 the heady exuberance of the psychedelically burgeoning Summer of Love is palpable in the music of the year, everyone was out of their gords and loving it, experimentation was the name of the game as was pushing boundaries and excess. The Past Tense, Lovelydove, Campbell Stokes Sunshine Recorder, Jack Ellister, Rob Gould, Moonweevil, The Locker Room Cowboys, The Honey Pot, Magic Bus and The Golden Needles take on the summer, again with magnificent results. You're going to love The Locker Room Cowboys version of the Stones 'We love you', best interpretation on the album, it's fantastic, perfect! Loving The Golden Needles take on 'The Smell of Incense' too.

Sadly, and maybe inevitably, by 1968 the tide was turning, it's the Autumn of Love, no amount of drugs could hide the fact the party was clearly over and with it many of those hopes envisaged in spring. There were new musical paths appearing, time for another change. King Penguin, The Luck of Eden Hall, Cary Grace, Sidewalk Society, Jay Tausig, Proud Peasant, The Green Ray, Ex-Norwegian and Consterdine address this year of flux and realization, and of course the results are electric. I don't think of anybody could've tackled The Jimi Hendrix Experience’s 1983 (A Merman I should be..) better than Cary Grace, contemporary yet respectful, beautifully arranged and with Cary's distinctive voice, clean and powerful, you've a mesmerizing track. As is Consterdine's 'Fly' (J.K and Co.), which again (in my opinion) surpasses the original.

Man, what a lovely listening experience, the tracks aren't arranged linearly by release date, instead you flit about the years, not in a clumsy way, no, the whole album hangs together and flows beautifully.  You're taken on a trip to the mid 60's whilst remaining firmly anchored in the present, the way the artists have combined now and then is a marvel. I can honestly say there's not a weak track on any of the six sides of this gloriously coloured vinyl release (mine are the darker coloured set, a lighter pastel set is also available), every track delivers. A lot of love and attention to detail has been put in to these interpretations, none are mere covers, every artist has brought something of their own to the tracks, and each has done the original justice, and to be honest, most giving the originals a run for their money (more sacrilege?). I'm certain the original artists would agree. Talking original artists, it's lovely to hear The Yardbirds and The Pretty Things still playing. The whole project has an air of reverence to it, present day psychedelic pop/rock/folk-sters paying deference at the spring that's nurtured and fed them, of which they now are a part of. Far out, man! I need to mention that the artwork by John Hurford is bloody lovely, tripped out seasonally appropriate nature scenes in vivid colours, he's the same guy who did The Honey Pots 'Ascending Scales' cover (another great FdM release). The whole package is a lovely thing, and shouts quality.

Todd said 'But a dream lives on forever', and although the sun went down of the psychedelic 60's, what was born during that triad of inspirational seasons endures and even thrives today, as this album of brilliant contemporary psychedelic interpretations attests to. Well played Fruits de Mer. Everyone should get a copy, go on! Oh, and more from The Locker Room Cowboys please, I'd love to hear what else they could do.

Crystal Ship 7" EP The Luck of Eden Hall

Old news to many, I'm sure, though a new aural pleasure for me, the last one in the shop too! The Luck of Eden Hall's 2012 7" EP release, Crystal Ship, and the accompanying digital album, Alligators Eat Gumdrops, are both wonderful creations.

Crystal Ship is a nice coloured vinyl EP (I received a grape version, with peach the alternative colour) and has 4 tracks. On the A side are two fabulous covers of mid sixties numbers. Firstly, the 'titular' Crystal Ship by the Doors, now I reckon you've got to be brave to take on covering this iconic classic, though from the first gentle guitar twang and mellow tempo-ed approach you know TLoEH have nailed it, doing the original service as well as bringing their own flavour to the mix. I have to admit that I'd never heard of the other track 'Black Sheep' nor the band SRC, my bad, though I greatly enjoyed it, and searching out the original, again TLoEH have done the track justice. Whilst on the B side of the EP are two tracks off Alligators Eat Gumdrops, Bangalore and This is strange, both smashing pop/psyche numbers. Alligators Eat Gumdrops was originally released as a limited edition CD, although nowadays only the download option is available. Alligators Eat Gumdrops is an album of beautifully crafted pop/psych tracks, all relatively short numbers too, which only increases that pop sensibility. From the first track 'High Heeled Flippers' you know your going to be in for a treat, and you're not mistaken, track after track hitting the spot. There's a magpie-esque nature to the influences in TLoEH/Curvey's work, though 'one' of Curvey's gifts is that whereas you or I may gather loads of threads and we'd end up with a mess of knots, Curvey ends up with a lavish tapestry.  A guitar rift there, the tinkle of keys there and the tone is set, one moment your mind is thrown back to those iconic sounds indicative of the British psych explosion that followed on from the mods in the mid sixties, suddenly the scene may change and you're transported to early eighties, there's an echo of bands like The Church swirling about in some of the atmospheres this album creates, early 80's post mod/psych/indie flavours abound, with some nice sax and keys too, then whoosh, and there are more of those airy sounds you'd associate with sixties psych, along with a spattering of folk/psych, and so so much more. Wisps of abundant and wide ranging influences abound, though only ethereal wisps, mind, this isn't an attempt at reproduction, a homage or doff of the cap, maybe, although the album is most certainly contemporary. What the album definitely is though, is The Luck of Eden Hall, there's no mistaking their original sound and arrangement style, and again for authenticity it's watermarked with Curvey's distinct vocal style. A fantastic album, I loves it, I do! Towards the mid 60's the 'mods' discovered psychedelia, and for a period their music was steeped in those flavours. In the late 70's/early 80's there was a second generation of 'mods', who took up the baton and music influences of their cultural forebears and embraced and evolved them, and they too went on to experienced their period of psychedelic discovery. I don't know about you, but to my ears at least (and I was a 2nd gen mod), on Alligators Eat Gumdrops The Luck of Eden Hall have picked up that psychedelic mod baton again, buffed it up, evolved it further, re-energized it by sprinkling on their magic and ran like the wind with it. And, wow, what a fantastic job they've done, creating a contemporary slice of modernist psychedelia.....very nice indeed! A must for any collection, and check the rest of their catalogue too, it's fabulous.

As you'd imagine, the musicianship is, par excellence, combine that with the quality song writing and thoughtful lyrics, and from the first listen you know you've got yourself another chunk of The Luck of Eden Hall gold. For me, the only down side is that it took me 6 years to discover this little gem or 'midget' gem, if you will. Get it?

As I proof read this post, and as if to support my assertions, the gas man has just serviced our boiler and commented that he liked the music I was playing (Alligators Eat Gumdrops) and his words when I told him it was a contemporary band were, 'right,  I though I could hear the Human League, it's got that 80's sound, but thought it was a 60's band I was listening to and that Human League must have pinched their sound'. Well I never.

Helium by Custard Flux

He's only gone and done it again! Who? The Luck of Eden Hall's Gregory Curvey. Man, I swear, the guy's a creative Midas or something, all his offerings to date have been pure gold. Curvey's back with his latest project 'Custard Flux', a project born with the acquisition of a dilapidated 100 year old Harmonium. He restored the harmonium (music not being the only string to his creative bow), bringing the ailing instrument back to life, and going on to create the album 'Helium' around it. Helium by Custard Flux is another Curvey masterpiece, again as with The Luck of Eden Hall, he's forging pure aural bliss. From the opening track 'The Hit Parade', a jaunty number, the harmonium conjuring images of yore, dancing dandies and masked ladies, juxtaposed with a distinctly psychedelic dream pop flavour, you know you're in for a treat. And you're not wrong, the melodic adventure continues throughout this great album. Like a musical magpie with alchemical powers he gathers elements from the myriad corners of the progressive/psyche universes and creates something uniquely Curvey, it runs through his work like Brighton through rock. That distinctive Curvey vocal too, man, weaves lyrically through the album, like a tonal watermark. There's all sorts going on in this album, echoes of early 70's Canterbury on some tracks, like 'The Shire of Gingin', whose opening guitar put me in mind of bands like 'The Audience'. And, there are nods to those later grand mid 70's prog opuses too, in the depth and scale of sound Curvey constructs. Then he'll change tack, with a number like 'Tiger', with its jangly guitar reminiscent of that 80's psychedelic pop sound, or a burst of good solid psyche rock as on 'Forevermore'. So many interesting musical paths explored, so many wells sipped from, a musical tour de force served as only Curvey knows how. Filled to the brim with ideas, every track's a delight, which carry you dreamily along with a smile on your face...this is such a beautifully chilled out album, man. Custard Flux sits comfortably on a sumptuous chaise lounge of psychedelia, shining, propped up with plump prog cushions, and draped in a brightly coloured pop throw, one reverent eye on the past, the other gazing excitedly into the future. An example of contemporary psychedelia at its loveliest, and all performed on acoustic instruments, yeah I know, yet another layer of wonder. The title track 'Helium' happens to be the last track, an apt cherry for such a delightfully rich cake of an album. Man, it's a gorgeous sunset track of dreamy shoegaze/ psyche pop, which in the end softly dissipates like a vapour, album done. Perfect. From start to finish there's no filler, and throughout the album the reinvigorated harmonium adds all sorts of groovy dimensions to that already established Gregory Curvey sound. Curvey played all the instruments and wrote the whole thing too! A musical Madrox, if you will. You want my advice, push the pie to one side and fill up on custard, it's delicious and nutritious, open your ears and let Curvey feed you minds. I'm absolutely loving this Album. A digital version is available on bandcamp, with a vinyl release to come, and you'll have to get behind me in the queue for that. Buy this album!

On the ninth day of Christmas

On the ninth day of Christmas music gave to me the best gig of the year, the Grace Curvey Collective. Well, that's just what I called them, in fact it was an evening with the Cary Grace Band and The Luck of Eden Hall in the shape of Mr Gregory Curvey, beautifully moulded, melded and exquisitely blended into something unique. Wondrous! I refer you to my post at the time.

On the sixth day of Christmas

https://theluckofedenhall.bandcamp.com/

On the sixth day of Christmas music gave me by far the finest release of the year, the Luck of Eden Hall's 'Make Way for the Mighty Machines'.  Epic, immense, majestically sweeping, all could be used to describe this track, and none would really do it justice, though they'll do for a start. I'd heard a review copy early in the year and couldn't wait for its release which wasn't until October. 'Make Way for the Mighty Machines' is a 23 minute long opus, man, epic is just what it is, so many different elements at play, so many diverse musical styles blended beautiful to create a fabulous whole, it's horizons huge. From it's opening lyric 'we're the resistance, we wont give in, to corporation blight' you know there something more to this track than just music, it's a heart felt message too. It's a rallying cry in the face of the developing storm born of capitalisms failings that's engulfing the globe. I see the track as an anthem for positivity as disobedience to the prevailing negative mainstream narratives as projected through a corrupt corporate media, it urges us to 'discard all negative thoughts' pumped at through our TV screens, it reminds us that those TV's are not our friends. It doesn't just illustrate the problems, it suggests solutions, 'let's share a message of love', is a salient message there in, it's an important message that the Luck of Eden Hall are delivering here, and it reminds us that 'numbers give us the power' to effect change, together.  Our culture needs more musicians who'll give positive focus and a voice to our feeling of disenfranchisement. Well, that's how I see it anyway. As for the music itself, well, there are elements of psych rock and punk sensibilities flowing through strong undercurrents of prog grandeur, it's a vast canvas and every inch of that canvas bathed in a myriad of musical colour and flavour.  It's immense, in sound and in scope, every instrument is played to perfection.  It's a legit musical masterpiece, man! And on this occasion the Luck of Eden Hall is just one man, which makes it even more outstanding, an incredibly talented man, Gregory Curvey. Gregory wrote it, produced it, mixed it, he plays guitar, bass, drums, synth and delivers vocals, all to the highest of standards; I don't doubt he made the tea as well. There's no end to this guys talents. No, really! He's also a fantastic artist and craftsman, on top of which, I had the pleasure of meeting back in the year, and he's a bloody nice chap, to boot; don't you just hate people like that.  As I say, by far the finest release of the year, grab yourself a copy, you wont regret it. This release is a split on the B side of which are 3 tracks by Red Sun, which are also rather good.

Cary Grace Band & The Luck of Eden Hall @ The King Arthur, Glastonbury 4.8.2017

It must be a rare occurrence that the two bands who produced your two favourite albums of the last year would appear together at the same venue, though that's exactly what happened with the wonderful The Cary Grace Band ('The Uffcolme Variations') and the awesome The Luck of Eden Hall in the shape of Gregory Curvey ('The Acceleration of Time'). So we found ourselves back on the road to our not so local local, the renowned King Arthur in Glastonbury. Traffic tonight was a nightmare and as the cars crawled along I have to admit to becoming increasingly anxious that we'd miss the gig in part or completely, or find it sold out. Fortuitously, the deities who oversee the musical world, in their benevolence, ensured we arrived in time. Now, when I said two bands, it wasn't quite like that, what we had was a merging, a melding of both bands to form one super band, lets call them - The Grace Curvey Collective. The Grace Curvey Collective were: Cary Grace on analogue synth and vocals, Gregory Curvey on lead guitar and vocals, Victoria Reyes on keyboards, Oboe, and vocals, Andy Budge on bass, David Payne on drums and Andy Thompson on Mellotron and synth. This was going to be good.

So, it was to be an evening of two sets, one dedicated to each band, and first up was The Cary Grace Band. And I thought that their set this evening was an inspired choice of tracks from the bands back catalogue, and one which gave Cary the opportunity to really utilize her voice, which has a stunning range. Cary's vocals are distinctive, powerful, strong and clean, yet diametrically delicate and magical, perfect for delivering her well constructed poetic lyrics, and, man, can she hold a note!  It's not just notes she holds, it's your attention too, there's an intensity in her delivery. As I've mentioned before, she's a mesmerizing artist. The set felt different in style to the ones we've been used to recently, with more tracks and those chosen were shorter, punchier and delivered in a harder rockier style.  I'm not complaining, mind, it's all good. The opening track 'cyanide', is off the fantastic 2015 'Tygerland' and is a powerful number with an air of menace, and one that allows Cary to show of her manifest vocal talents. Cary's voice was complemented on the harmonies when joined by Victoria who also has a wonderful voice.  On tracks like 'Without a trace', one of the bands most recent releases, their combined vocal talents blend sublimely, it's like honey to your ears. Victoria's doesn't just deliver wonderful vocals though, no, she's fabulous on keyboard and even found time to add some oboe to the mix. On drums David is a regular powerhouse who, whenever we've seen him perform, has fair beat the crap out of those drums to blisteringly good effect, and this evenings performance was no different.  The rhythm section is the foundation of a band, upon which beautiful things are built, and in the Payne/Budge combo the band have a rock solid construction platform on which to build. Andy B, as is the way of the master bass practitioner,  looks cucumber cool most of the time, vibranium fingers plucking out groovy licks and riffs with clear intent. Tonight though he was totally rocking out, clearly loving the chemistry and enjoying every moment of it. The whole band looked like they were really enjoying performing, as much as we were enjoying the performance. David and Andy B heavily contributed to whole 'rockier' vibe to tonight’s show. One of the magical elements of The Cary Grace Band is hearing how guesting band members effect the sound, putting a unique flavour to familiar and well loved tracks, crafting one off magic moments.  This evening there were two guest faces, on Mellotron and lead guitar. Andy T was on Mellotron (lovely sounding instrument) and synth, he made a groovy addition to the mix, adding nicely to the overall musical texture of the evening which was deep and richly woven. On lead guitar Gregory was faultless, his rendition of TCGB's tracks was perfect, as if he'd always been in the band. Whereas, this was only their second live performance together! That my friends must be the mark of a great guitarist! Gregory too definitely added to the rockier feel this evening, and along with Andy B and David formed a potent rock trinary. The band delivered every track beautifully, the sound was tight and clean. It was a real treat to hear tracks from earlier albums get an airing (check out that back catalogue, man, it contains gems). The set finished with an interpretation of the Stones 'Paint it Black', which did justice to the original by bringing new dimensions to it. The audience showed their appreciation for what was all round a fabulous performance of the type we've come to expect from The Cary Grace Band who never fail to deliver; tonight sprinkled with added Thompson and Curvey magic.

During the intermission there was an opportunity to chat to band members, all lovely folk, all having a fun time, and happy to chat to their gibbering fans. The intermission was short and it was soon time for The Luck of Eden Hall set. 

Now, I'm ashamed to say, I'm a late arrival to the Luck Of Eden Hall party, 'The Acceleration of Time' was my first album. Though what an introduction to a band, the album is an absolutely sublime listen (an extensive, and rather groovy back catalogue is also available). So, imagine my joy to hear some of those tracks included in tonight's set. Like Cary, Gregory is a wonderful lyricist, who's words are well chosen and often convey  pertinent topics, take 'The Happiness Vending Machine', as an example, is definitely a song for our times. The quality of his writing both musically and lyrically are right up there, each track is beautifully crafted. Gregory's a really fine guitarist who undoubtedly knows how to get the best out of a guitar, and he's versatile too. During the TCGB set his style was clean and rocky, as the tracks required. Though now on musical home turf you could really hear TLOEH's familiar warm, more psychedelic, guitar sound coming through.  As with the first set, the Payne/Budge combo remained in full effect, to great effect, constructing firm footings for the others to build on. The rock trinary was still strong. Victoria's keyboard work was perfect, and along with Cary who twiddled and fiddled studiously with her analogue synth to stupendous effect, and Andy T's mellotron magic, crafted a fabulously rich tapestry of sounds and textures, through which Gregory's guitar could flow and dance. And Gregory made that guitar sing magnificently, whilst delivering some of his wonderfully insightful lyrics. For me the highlight of the TLOEH's set, had to be a live preview of the the bands forthcoming single, the totally epic, 20 odd minute long opus, 'make way for the mighty machines'. Man, epic is just what it is, so many different elements at play, so many diverse musical styles blended beautiful to create a fabulous whole, it's horizons huge. Elements of psych rock and punk sensibilities flowed through undertones of prog grandeur, it's a vast canvas and every inch bathed in a myriad of musical colour and flavour. I see the track as an anthem for positivity as disobedience to the prevailing negative mainstream narratives as projected through a corrupt corporate media, a rallying cry in the face of the developing storm born of capitalisms failings. It's immense, in sound and in scope, it's message salient. Our culture needs more musicians who give positive focus to our feeling of disenfranchisement, 'we're the resistance, we wont give in, to corporation blight' one lyric goes. It's a bloody musical masterpiece, man! Well, that's how I see it anyway. Even at over 20 minutes, it was over all too soon, as, sadly, was the whole set; time must have accelerated. Rapturous applause followed and was well justified; the audience had loved that. Gregory then kindly performed a solo number as an encore, which he'd arranged for his acoustic set in London next week. Lovely. All members of the collective delivered stellar performances, magic was created in that back room tonight. In both sets there was a tangible chemistry between all musicians. And, the quality of said musicians was testified to by their ability to, not just play the others music, which must be hard enough, but to be able to do each others music justice. I'm sure you'd agree, no mean feat, though one they appeared to have taken in their collective strides.  In particular I doff my cap to TCGB for their parts in 'make way for the mighty machines' were outstanding, kudos all round. What a performance, a unique evening to remember. If a recording was taken, I'd have a slice of that, just saying. Big thanks y'all.

If you've not yet, you've got to catch The Cary Grace Band, you really must, they're group of consummate musicians. We seen a few gigs now, and I can honestly say, I have never been disappointed. In the meantime you can pick up the bands releases here.  As for Gregory he's soon back state-side, though hopefully he and The Luck of Eden Hall will be returning next year, and be assured, they'll be gigs not to miss. In the meantime check the bands bandcamp page and pick yourself up a copy of something groovy, like 'The Acceleration of Time', a real must have album. Thanks for coming over and playing Gregory, man.

Again, massive thanks to the King Arthur for consistently putting on the finest of bands and events. The sound's always great, the atmosphere's always great, great staff and clientèle, have I mentioned it's great? My one complaint (a recurring one), where was everybody? Two great bands, a respected musician comes all the way from the states to play for us, and although the room was by no means empty, and all who were there were appreciative, it should have been rammed, man. We need to support bands and small venues, or we'll lose both and be the lesser for it. Anyway, thanks to all involved in creating this most memorable evening.