Tuesday 11 October 2022

TDATS 143: Arsenic Interview With Bertrand Repellin [French Rock 1978]

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Arsenic in 1977
When researching French bands for the recent TDATS volume 141 (link), I discovered a number of good late-'70s bands that fused hard rock, garage rock and a little new-wave punk attitude. Many of these bands originated in Lyon and the surrounding area, and one of the best was Arsenic, who made a single album that had intriguing cover art. Judging by the name of the band and the album cover, I had a gut-feeling I was going to like this record. There was very little useful information that I could find about Arsenic aside from the printed album details, so after purchasing the album and making some investigations, I made contact with original guitarist and singer of the band, Bertrand Repellin


He has very kindly answered a few questions about Arsenic, with help from the rest of the band including guitarist Jérôme Savy, and I am very happy to post them here for volume 143. The story is an interesting one with ups and downs, one of which I found quite shocking regarding the band's manager, the real stuff of rock n' roll lore indeed!

Arsenic in 1980
The album and band is simply named Arsenic, and was released on a small French label called Verseau, about which more will be revealed below. The album has a good variety of sounds, ranging from the hard rock of the opening and closing tracks, a great come-down ballad in Three Days With The Flip, to some rocking n' rolling blues with Sweet Mary and even a few touches of electronica in Emergency Exit and Mister X's Dream. I particularly like the way the album succeeds in using a wide variety of different instrumentation, tone and mood, from one song to the next. Heavy guitar, Moog, bottle slide guitar, acoustic guitar, blues piano & harmonica, multiple forms of percussion, it all works and keeps the album sounding fresh right up until the end.

Front and Back LP cover

             Track list and timestamps

             00:00 - A1 - Nameless
             02:35 - A2 - Going To London
             05:32 - A3 - I Feel So Happy
             08:17 - A4 - Tipsy Girl
             10:59 - A5 - Emergency Exit

             14:12 - B6 - Mister X's Dream
             16:58 - B7 - Sweet Mary
             20:32 - B8 - Three Days With The Flip
             24:27 - B9 - Never More


Interview with Bertrand Repellin


Bertrand in 2022
Q1. Hi Bertrand, firstly thanks very much for doing this! What sparked the formation of Arsenic, and why did you decide to specialise in guitar?

Bertrand: The history of the group Arsenic is unusual because we met at the age of 12 (1972/73) in the same class in a school in Lyon. We came from middle class families, not all of us particularly music lovers, but we quickly shared our taste for the pop-rock music of those years. Our friendship and our beginnings as musicians were practically built together, and the idea of forming a music group came quickly, almost before we learned any instruments.

Arsenic in 1977
I decided to learn the guitar, an emblematic but also practical instrument, another (Jérôme) also turned to the guitar. Another (Christophe-Pierre) who had tried the snare drum, chose the drums, another (Pascal) whose father played the organ in church, chose the keyboards. Another (Thierry) offered to play the bass, and here was Arsenic. It's worth noting, when recalling the genesis of the group, that our strong musical identity was forged thanks to this. The music, the spirit of Arsenic, that of a "real" band, is the fruit of this early meeting, this common learning, and this great friendship which has linked us, and still does today.

Arsenic in 1977
Q2. What inspired the name “Arsenic”?

The name was found quite quickly for what it represents, its sound, its simplicity, and its international readability.

Q3. What musical scenes and artists were the newly-formed Arsenic enjoying and listening to?

We were still children at the beginning of our meeting, each one had varying culture & musical tastes. For some of us, it was the records of our big sisters and brothers. Pop, rock, rhythm 'n blues, mainly English and American. In addition to the "old" rock & roll classics, our references were the main big bands of the time such as: The Stones, Beatles & The Who, Pink Floyd, Deep Purple, Creedence and Led Zeppelin....and all the bands present at the Woodstock festival. We had to wait until we were a bit older to get parental permission to go and see these bands live! Our musical tastes and influences grew over time, and as we matured, each of us developed our own preferences in rock, pop, progressive rock, blues and country rock...

Arsenic on stage
Q4. Did Arsenic play any gigs or festivals that you can tell us about? 

For the anecdote, our first public performance at 14 years old was a concert for an association of deaf and hard of hearing people, where we were asked to turn down the volume that was judged too loud! Then, we really started to perform at the age of 15 (1976) in various venues in Lyon with mainly a repertoire of covers (Stones, Beatles, Chuck Berry, classic rock...) and some early  original compositions. We quickly moved-on to only playing original titles.

Q5. Which bands were playing along with Arsenic at these shows?

Between 1977 and 1980 we played in larger venues in the Lyon region, notably in front of a university amphitheatre full of 1200 spectators for the release of our record. Otherwise, we often shared stages with important French bands, Rock or New Wave, when the city of Lyon was named "Capital of Rock" by the press. For example, a night concert in an ephemeral but mythical club, the Rock and Roll Mops (link), with the leading French bands of the time, like Téléphone, Bijoux, Ganafoul, Jacques Higelin, Starshooter....

[Editor: Here's a few quotes regarding the Rock and Roll Mops club in Lyon. "...a group of enthusiasts led by the Demonet brothers tried to create a place dedicated to rock: this would be the mythical adventure of Rock'n'Roll Mops, which opened its doors in the spring of 1978."

"The Rock'n'roll Mops will consist of three rooms: one with 800 seats, another with 250 and the last one which will be able to accommodate a hundred people, all spread over three floors with lots of nooks everywhere […] It will be the sanctuary of hard and soft rock, the home of blues and country, the haven of new wave and blues rhythm. Other music will certainly find its place there, it's up to them […] Local groups, refine your riffs, check your balance, polish your brass, the Lyon scene awaits you”."

"Two months of intense and memorable concerts saw Jacques Higelin, Telephone and the Lyon groups Starshooter, Electric Callas and Marie et les Garçons take to the stage. The place is transformed into a temple of rock and new-wave and attracts a young and numerous audience."

Facing administrative closure the same year it opened, Electric Callas, Marie et les Garçons, Bijou, Starshooter, Telephone, Ganafoul and many others took the stage for the final show at the Mops.]

Q6. How did Arsenic get recorded by the Verseau label?

We were able to make this album thanks to a meeting with Farid ZaÏche, a personality from the Lyon artistic scene. He noticed us and became our manager, and quickly proposed to record and release an album by creating his Label, “Verseau”.

 The band with Farid ZaÏche (on right)


Q7. Could you please confirm the band members of Arsenic who recorded your self-titled album, and tell us about the guest musicians like Noel and Antoine, mentioned on the album?

Images from rear cover
Arsenic core band were:

Guitar, Vocals - Bertrand Repellin

Guitar - Jérôme Savy

Bass - Thierry Monod

Drums -  Christophe-Pierre Dupraz 

Keyboards - Pascal Viscardi 

Our guest musicians for the LP recording were:

Bongos, Maracas - Noel Kapoudjian

Bottleneck slide guitar - Antoine Stacchetti

Harmonica - Jean-Yves Astier


Noël Kapoudjian, playing in 'Slaughter and the
Dogs' at UK Rebellion Punk fest c.2014
Noël Kapoudjian was a professional drummer and percussionist of the highest level. He played with various musicians or groups of different styles, rock or jazz. He came to bring his percussions on several titles. He unfortunately passed away a few years ago. Antoine Stacchetti is a guitarist, specialised in baroque folk and blues. He brought acoustic rhythm and bottleneck parts. Jean-Yves Astier was the bassist of the band Ganafoul (link), he played the harmonica part on Never More. These three experienced musicians, older than us, were and are also friends.

They brought a complementary touch on some songs, but never played with us in concert. And we thank them and other relatives for their valuable support, because they had driving licences and cars and often accompanied us and carried the instruments to the studio sessions and concert halls! Some of these older friends, whom we were particularly close to, visual artists, former students of the fine arts, also brought us a rich artistic opening beyond rock and roll...

Arsenic in 1977
Q8. Could you explain "also brought us a rich artistic opening beyond rock and roll" further?

The recording of the album was enriched by the contribution of experienced musicians: Antoine Stacchetti and Geni Detto for the acoustic guitars and their arrangements, Noël Kapoudjian with the percussions... But apart from recording the disc, we often were with friends who were a decade older than us, who were jazz musicians, folk musicians, avant-garde visual artists or both. They liked our youth and our talent, and they introduced us to styles of expression other than rock and roll. Contemporary art in painting, Frank Zappa or John Renbourn in music, for example. It didn't influence our pop rock music directly, but it opened us up intellectually. In fact, even if we were mostly part of the "classic" rock scene in Lyon at the end of the 1970s, more so than the punks and other "new waves", we didn't belong to any fashion or chapel.

Bertrand, 1978
Q9. When and where did you record the Arsenic album?  What are your memories of recording the album, and the equipment you used?

Thanks to Farid Zaïche who managed the whole project, we recorded this album during the summer of 1978 at the Cybernis studio. A 16-track analogue studio isolated in the countryside in the Rhône Alpes region. The electric guitars were two beautiful Fender Stratocasters and a Fender Music Master plugged into a Hiwatt 50W amplifier, with no intermediate effects pedal other than distortion, sometimes, and plugged directly into the console for the clean sounds. The bass was a Fender Precision bass, plugged directly into the console. Orange (?) drums. Keyboards: Grand piano, Würlitzer electric piano and Moog synthesizer. Various percussion instruments by Noël K.

Geny Detto, sound engineer
Q10. What are your memories of other people involved, like producers, engineers etc?

A lot of arrangement work took place during these recordings. Our songs, which were quite "raw", were reworked under the influence of Geny Detto, the sound engineer, and Farid. This careful production gave our songs a more "mainstream" dimension. We improved in precision, melodic and harmonic details, and structures. Were the original interpretations as on the pre-record demo more authentic and representative of pure and raw Arsenic? Perhaps. But our demo tape won't tell us, it has disappeared... 

Geny Detto was an "old-fashioned" sound engineer, guitarist and arranger, having collaborated with Graeme Allwright among others. But we can say that he did a very good job.

1979
Q11. What was the creative process for writing songs?

Our creative process was quite classic. The start of a new song was based on an idea of riffs, a sequence of chords, a theme from one of the two guitarists. The rest was built together in rehearsal. It was up to the singer to find his melodies, the keyboardist, bassist and drummer their parts, the guitarists their solos and their respective interventions always complementary and balanced. A rich alchemy operated thanks to this musical and human connivance that linked us. As a singer, I (Bertrand) wrote the lyrics. We were teenagers, so the themes were either the problems of a young person in society, at school, everywhere. The abstract desire for somewhere else, for an absolute love. The refusal to be ensconced in the reality of society. In the form of poetry that sometimes flirts with the romantic-fantasy (Nameless, Mister X's dream, Never More, Emergency exit).

1979
Q12. Arsenic’s music is very good. "Nameless" is fast and heavy. Did you really want to go to London, like the lyrics in "Going to London", and who was the "Tipsy Girl"?

Tipsy Girl is nobody in particular, probably a girl drunk with the chaotic world around her. The idea for “Going to London” came from our vision of this city as the place for music as we loved it, where it comes from and lives, where the "real" bands are. Like a desire to escape to an elsewhere that we imagine to be better. “Three Days With The Flip” simply tells the story of one of us having a bad trip after consuming "hallucinogenic" substances. Knowing that we weren’t very wise in this respect compared to other bands we knew. Drugs and groupies were not part of our daily life!


Q13. Why did you choose to sing in English?

The English language was a given for rock bands at that time, with its sound that fits so well with the style. Writing and singing "well" in French is not gifted to everyone, few bands dared to do it, at the risk of "doing french variety".

Jérôme Savy in 2022
Q14. Do you have any favourite Arsenic songs? Can you remember anything about playing any of them, ones which were hard to play, or most fun to play for instance?

Bertrand: I don't have a favourite song. I really see this album as a whole where each song has its own atmosphere, its own quality and its own reason to exist. Difficult or fun? I would say neither, but I don't know anymore, it's far away...

Jérôme Savy: I particularly like “Mister X's Dream” for its guitar parts, the crazy notes and sound of the Moog synthetiser, and the title of this track.

1979
Q15. What inspired the LP cover art? I see that it's attributed to Nicole Besacier and Sophie Dargacha. Did you know these people?

Farid Zaïche was in charge of making the album cover. Once again, we trusted him, as we had no idea on the matter (the idea was still to show something else than five guys in the street...). Nicole Besacier and Sophie Dargacha were two beginner graphic designer friends of his. We didn't really know them. The first project was based on a beautiful female face taken from a magazine, but it could not be retained because of a lack of authorization. The final result earned us some mockery from our artist friends who found it a bit childish. But personally, I like it and I think it fits well with our music, and it makes me think of the title Mister X's dream... But I have to admit that the back cover looks very amateurish!

Q16. What happened after the album was released? Was it widely released or just in limited numbers? 

The album was released in September 1978, with a rather small print run, a few thousand copies? We don't know the exact number that were sold. It was very well-received by the public and the press, but unfortunately only at a local level, as it was not released internationally.

It lacked the next step of wider distribution and promotion with a major company. In fact, we were 17 years old, still at school, a bit too naive, we trusted our manager Farid, without worrying enough about the details of things and the accounts. When one day we asked him for explanations, he didn't really answer, and then shortly afterwards disappeared... It was through the newspaper, with an article and his photo between two Italian policemen, that we learned that he had tried unsuccessfully to hijack a plane from Rome to Tunis, demanding the release of Tunisian political prisoners!

1980
Q17. How much longer did the Arsenic band exist?

After some contacts between us and Farid from his prison in Palermo, we knew that he had been extradited to Tunisia. Then, silence. It is assumed that he was eliminated there... This event broke our momentum a bit, we had trouble bouncing back. We continued until 1981; without Pascal Viscardi, the keyboard player having left the band sometime after the release of the record, but we started again with French compositions, because in the meantime, the record companies had begun to only sign French songs, after the success of the groups like Téléphone and others. But, in spite of the ever-present concert successes, a good evolution of our songs, promising new titles and demos; the absence of a manager, a certain disillusionment and wear and tear took the group's toll.

1980
Q18. What happened after the demise of Arsenic?

When Arsenic broke up, Jérôme joined the group Carte de Séjour (link1, link2). [Editor: Carte de Séjour had success throughout the 1980s]

I (Bertrand) put together a group that didn't last, with Thierry, Christophe-Pierre and a female singer. Then I had various musical adventures and am now a TV sound engineer. Thierry Monod became a lawyer, Christophe-Pierre a show manager. Jérôme is a teacher of modern music. Our strong friendship never wavered throughout the years that followed Arsenic, seeing each other regularly, each having kept the love of our instruments and of music. Unfortunately, Christophe-Pierre has left us, he passed away in January 2019

2017 Arsenic reunion
(l-r) Thierry Monod, Bertrand Repellin, Christophe-Pierre Dupraz (R.I.P), Jérôme Savy


So that wraps it up for volume 143, I would like to extend thanks to Bertrand and the rest of the band for their time and effort in making this volume possible. 

See you on the next one!
Rich

Some more Arsenic commentary can be found at these places:


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Related TDATS posts:

Volume 127: Blue Planet interview with Art Bausch
Jodo Interview with Rod Alexander
Roy Rutanen interview 
Volume 119: Panda interview with Jaap van Eik
Volume 111: Cobra interview with Rob Vunderink

All interviews posted so far can be seen here.

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Fort Mudge Memorial Dump interview with guitarist Dan Keady


Fort Mudge Memorial Dump


Listen via youtube
Thanks to Black Widow's channel (link)

Also on Spotify

Happy new year. TDATS is in its ninth year now, and still going, so thanks to all those who have shown support and welcome to the first post of 2017!

The Fort Mudge Memorial Dump was a prime psychedelic band from around Walpole and Boston in Massachusetts. They released one LP during their peak in 1969 and it's been a steady grower for me ever since I heard it a few years ago. A rich and varied LP which has something to offer everyone into vintage rock sounds.

As was typical at the time, there were less genre constraints and expectations back then and you'll hear blues, folk, country and hard rock sounds mingling happily, with male and female vocals from various members of the band. These were David Amaral [bass], Jim Deptula [drums], Caroline Stratton [vocals], Danny Keady [guitar, vocals] and Rick Clerici [guitar, vocals]. Interestingly, comedian and actor Martin Mull (Roseanne, Mrs. Doubtfire, Veep) made a small contribution to the LP too.

As is often the case when I am looking into bands to include in mixes (Fort Mudge has appeared in three so far: Vol95Vol97 and Vol117), there was a surprising lack of general information about the band and their album, so I attempted to track down a few key members, eventually getting in touch with founding guitarist Dan Keady. He still plays and at the time of writing this, is in South West Florida's Deb & The Dynamics, where he now lives (link). He's kindly agreed to answer a few questions!

Interview with Dan Keady

Dan in a recent show
Hi Dan! Can you give us some background about how you originally became a musician and some key events leading up to being in Fort Mudge?

Dan: I started playing guitar at age 14 and sucked at it for a year or two but eventually put a band together made up of neighbourhood kids playing instrumental guitar music like the Ventures and surf groups. I used to go to see Rick play at the local record hops and he was doing the same kind of music. All that changed when the Beatles arrived and we all had to learn how to sing [and buy mics and vocal amps etc]. I ended up in a band that my older brother left for a gig in Boston. This was Walpole Massachusetts big time band Little John's Nocturnes.

How did you and Rick get together with David, Jim and Caroline to start The Fort Mudge Memorial Dump, and where did that colourful name come from?

While in Little John's Nocturnes playing soul music hits I met Caroline who was doing a folk jam with Rick. We decided that a folk rock band might get us an audience so we added drums and bass. David [bass] was younger than us and playing with a garage band down the street when we recruited him. The first drummer Al Barnicote just wanted to jam and recommended we replace him if we were going to rehearse and write every Tuesday night at my parents house.

Jim "Chicky" Deptula was my drummer in earlier bands and could play well had great hair but was a troubled kid. We spent about a year just jamming and playing Rick and Caroline's varied compositions until they morphed into the crazy mess that is Fort Mudge. The name came from Walt Kelly's comic "Pogo". If the band had been more successful we probably would have had to change the name as it was used without permission.

Pogo comic March 3, 1968 - Full page - Source
Excerpt from Wikipedia (link): "Pogo [Comic, est 1913] is set in the Georgia section of the Okefenokee Swamp; [the Georgia locales of] Fort Mudge and Waycross are occasionally mentioned. The characters live, for the most part, in hollow trees amidst lushly rendered backdrops of North American wetlands, bayous, lagoons and backwoods. Fictitious local landmarks — such as "Miggle’s General Store and Emporium" and the "Fort Mudge Memorial Dump," are occasionally featured."

Can you tell us some things about life in the band? Where did you play shows?

We heard about free concerts on Sunday afternoons at Cambridge Commons near Harvard University and went to check them out. The guys running it said we were welcome to come and play our own material for their crowd [not the standard thing in those days]. We played every Sunday that summer [1968 I think]. At the end they offered to manage us and make us stars. One was eliminated when he started messing with the money [we were playing colleges and high schools by then] and Ron Beaton became our manager with the agreement that he wouldn't get paid until we got signed with a record company.

He formed Moonstone management and went to New York bringing our demo to everyone that would listen. I guess the "Boston sound" had attracted some attention and bands were getting signed and selling records. A few reps came up to see us but the summer of 69 saw a great increase in our audience at the free concerts in Cambridge. So we got a rep from Mercury to come up for a weekend to see us play for a thousand people at a university followed by our headlining the Sunday concert for 8000 or more.

Fort Mudge in front of a home crowd at Walpole Mass.

How did the recording of the album come about, and how did comedian/actor Martin Mull get involved and what did he contribute on the album?

The Mercury rep reported back to NY that we were extremely popular and should be signed. Of course it took months to get the deal done and the rep was long gone by the time we recorded a note. We recorded in Boston in what would later become The Cars' studio [Petrucci & Atwell Sound Studios]. Martin Mull was a struggling musician and house guitar player at the studio. He lent me his Gibson ES-335 for 'blues tune' and entertained us between takes. Once the basic tracks were laid down half of the band just hung out in the front office with Martin while others did overdubs and vocals. Rick Clerici played all the acoustic guitar parts as well as electric on his songs. Most of the noisy stuff is me.

Did the producer Michael Tschudin and engineer William Wolf  have significant input in the record?


The producer Michael Tschudin played all keyboard tracks including picked piano and other odd sounds. Bill Wolf was a bass player and insisted that David use his old Fender bass because it sounded better than David's Gibson EB3. That was his opinion but he insisted like it was fact. I felt bad for David who was very young but accomplished on his instrument and he clearly didn't like the Fender's high action and dead sound but in the end it sounded great.

(l-r) David Amaral [bass], Jim Deptula [drums], Caroline Stratton [vocals]
Danny Keady [guitar, vocals] Rick Clerici [guitar,vocals]

The album is ambitious and diverse, there’s some heavy fuzz guitar on tracks like 'The Seventh Is Death' and 'The Singer', there's blues like 'Blue's Tune' and there's mellow orchestrated songs like 'Actions Of A Man' and 'What Good Is Spring'. No two songs are really alike. Can you explain how such a diverse mixture of styles and instrumentation came to be included?

The songs were written by very different people and we were intentionally not listening to any other music so that we could develop an original sound. I'm told my leadership and arranging were very heavy handed and led to the demise of this version of the band but it was successful and I felt that the band needed a direction.

What equipment did you use to get your sound on the LP?

I was mostly using a Gibson SG special running into a fuzz and wah wah pedal [only on sometimes] then into a Marshall 100W Plexi Superlead amp. I did use Martin Mull's Gibson ES-335 for Blue's Tune and possibly other overdub solos.

Is it you singing on 'Blue's Tune' (which is credited to you)?

Yeah that's me trying to sound blackish. I'm still the blues singer these days, and was also the 'B' in Southwest Fla.'s The R&B Connection in the 90's (the CD is probably on youtube), as the bass player used to say. I am featured doing blues songs on all the latest releases from Deb & The Dynamics.

Front cover
The Fort Mudge Memorial Dump - S/T

Mercury ‎– SR 61256 (1969)

Tracks:
A] Mr. Man / Crystal Forms / Actions Of A Man / Blue's Tune

B] The Seventh Is Death / What Good Is Spring? / Tomorrow / Know Today / Questionable Answer / The Singer

Are you able to give any personal insight into the meaning of “The Singer”? It’s a heavy and foreboding sound that I really dig, along with all your (as always) inventive guitar parts!

If I recall, Rick said The Singer represented good. Like Jesus or Martin Luther King preaching non-violence and, as in the last verse, parents can create hateful children who can grow up to be The Singer's executioners.

Do you have any favourite tunes from the LP?

I still like 'The Singer'. Both musically and lyrically it still holds up today, although my guitar tone has improved quite a bit. I also like 'Tomorrow' for the lyrics and the sounds ...a lot went into the background to get that done.

What was the public/critical reception of the record on release? From what you've said previously, I presume the LP lineup didn't last long after it was made?

In the Boston area we were an instant success. I remember Caroline and I going to a big record outlet and seeing boxes of our LPs stacked up. They were just cutting them open and stacking them. They said sales were so good that they couldn't bother loading into the bins like other records.



Unfortunately Mercury provided no display stands or posters to make us look like a successful band. I do remember hearing that the same brisk sales were reported on the west coast. Mercury blew the promo money on full page trade magazine ads which made us feel great but didn't do the band any real good. They also didn't have any successful acts to put us on tour with so most of the world had no knowledge of us. This led to bad bookings in clubs and such that had no interest in an original act with no hits on the radio. Rick and Dave left to form Brother Ralph a 'Kansas' like lineup of guitars, saxophones and violins. They were great and I did record a demo of them but they were never signed

Fort Mudge's album has been re-released by Mercury and there is a lot of buzz online from all over the world. My daughter recently found a band doing covers of these songs selling downloads online. I had several different versions of Fort Mudge, one even did another never-released album. We eventually morphed into 'FM'. then 'Madeinusa' and finally 'Love Lace' [featuring Mudge's Caroline Stratton and Chicky Deptula]. There's plenty about all that online.




Thanks Dan! And thanks for the music. It would be great to hear the un-released Fort Mudge album one day...

Check out Dan's current band at Deb & The Dynamics.net


Dan on stage with Deb & The Dynamics


Thanks for reading!
Some other TDATS interviews:

Neil Merryweather (Vol68| Heat Exchange (Vol96)
Iron Claw interview with Jim Ronnie Jodo Interview with Rod Alexander
Castle Farm Interview with Steve Traveller
Cobra interview with Rob Vunderink (Vol111)
Roy Rutanen interview | Stonehouse interview with Jim Smith
Panda interview with Jaap van Eik (Vol119)
Universe interview with Steve Finn part 1
Gun / Three Man Army interview with Paul Gurvitz (Vol125)
Blue Planet interview with Art Bausch (Vol127)

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