In Focus: The Tangent

This one is a doozie! But, it's one I have been wanting to do for a while, so I'll try not to go off on a tangent!

Before

The Tangent officially started in 2002, but their origins go back much further. Multi-instrumentalist – composer – vocalist Andy Tillison, who is the central figure in this story, actually had a band called The Tangent in the late 70s, but another band was using the name “The Tangents” so eventually, that name was dropped. He wound up forming a band called A New Opera in 1980. Tillson refers to that band as “a stealth prog band”, meaning they may have seemed like a typical new wave band of the era, but they definitely had a prog influence and skills. He puts XTC, It Bites, Go West, Duran Duran, and Howard Jones in the same category. While this band never released any official albums, they did sell tapes at gigs, and some songs from the era would see life as Tangent songs, albeit in new forms.

Tillison would then go on to produce a solo album called Parallel or 90 Degrees in 1982 and would have a band under that name fifteen years later. That album seems to be a rarity as I cannot find it mentioned anywhere outside of the Tangent website.

The next step on the path to The Tangent is Tillison's next band called Gold, Frankincense, and Disk Drive (GFDD). Tillison states that this band was the beginnings of his tendency to include political messages in his songs, which is sometimes criticised when he includes those types of subjects in The Tangent's music. (For Tillison's view on this, see his Manifesto on The Tangent's official website.) GFDD released two albums in the 80s: Where Do We Draw the Line? in 1987 and Lifecycle – A Fractured View from the Hard Shoulder in 1989, as well as the EP Butterside Downs in 1988.

Tillison's final stop on the way to The Tangent, is the band Parallel of 90 Degrees (PO90). Formed in 1996, PO90 released six albums prior to the formation of The Tangent, and each album became more and more progressive. Future Tangent member Sam Baine was also a part of PO90. Tillison claims the PO90 were the first band to put music out as an MP3 on the internet in 1996, only one day after the software was released, and put up a full album for free, eight years before Radiohead was applauded for doing so. Tillison says that PO90 were an indie band in the vein of Radiohead, Mansun, and Muse. However, it appears that the song The Single from PO90's third album Time Capsule was considered the blueprint for what The Tangent would become. The album also contains a 22-plus-minute epic title track. While he compares PO90 to the contemporary bands listed above, many listeners draw comparisons to Van Der Graaf Generator and Peter Hammill. Tillison would re-visit PO90 in 2009 with an album called Jitters. There is also a 2026 album release of reworked PO90 tunes recorded with only Tillison and bassist John Jowitt (more on him later) called aftersometimelater.

Formation

Fast forward to May 1999, when PO90 opened a show for Swedish prog legends The Flower Kings. Neither band was familiar with the other at that point but Tillison was enamoured with the music of The Flower Kings and was inspired to begin writing the progressive rock music that he'd been holding back for so many years. He kept the more basic material for PO90, but shelved the prog material for a solo album he intended to make somewhere down the line

Ian Oakley was a member of the Flower Kings touring management at the time. Oakley had been asked to write a review of the show that PO90 opened for TFK, and was somewhat dismissive of the PO90 set as he had paid little attention to it at the time, but knew TFK set inside and out. When Tillison read it he sent an angry letter to Oakley, who in turn replied to Tillison saying that he apologised, that he had never written a review before, and regretted not giving PO90 a fair shake. After Tillison accepted Oakley's apology and apologised for his own outburst, the two began corresponding and discussing prog rock which led to the realisation that they had a lot in common.

After a time, Tillison sent Oakley a demo of the progressive material he'd been writing. When Oakley heard it and loved it, he sent it to The Flower Kings leader Roine Stolt, who enjoyed it so much that he offered to play on an album, and brought in TFK then rhythm section, bassist Jonas Reingold and drummer Zoltan Csorz to contribute as well. Tillison invited multi-instrumentalist Guy Manning to take part along with PO90 keyboardist Sam Baine. The icing on the cake was the addition of Van Der Graaf Generator's David Jackson, whom Tillison already knew, after Stolt suggested adding a saxophone player. As for Oakley, he later became The Tangent's manager.

2003

Thus the line-up for the first Tangent album was assembled; and what an album it is! The album is titled The Music that Died Alone and was released in July 2003. With three Flower Kings on board, of course, there are a lot of comparisons to be made, and they are fair ones. While there are 16 tracks on the album, they comprise three suites and one stand-alone song. Tracks 1 – 8 comprise In Darkest Dreams which totals just over 20 minutes. 9 – 11 are The Canterbury Sequence, which contains the song Chaos at the Greasy Spoon originally by Canterbury Scene band Hatfield and the North. The suite is just over 8 minutes long. Track 12 is the stand-alone Up the Hill From Here (7:11) and tracks 13 – 16 make up the title suite amounting to 13:44.

Obviously, The Canterbury Sequence shows Tillison's influences from that subgenre. This is a top-shelf prog album that captures the vibe of the 70s prog classics, with some modern touches. Overall, the first Tangent album seems to have been well received by the prog community, particularly Flower Kings fans and PO90 fans.

This album was intended to be a “one-off”, but...

2004

A second album with only one line-up change soon followed. Released in 2004, the album is called The World That We Drive Through. The only line-up change is that David Jackson returned to work with VDGG and Theo Travis, who is known for his work with Gong, The Soft Machine, Robert Fripp, and Steven Wilson, among many others, joined as the woodwind man. Tillison describes the first two Tangent albums as “Sister to The Flower Kings” albums. I don't disagree with that assessment, but the difference is the writing, with Andy Tillison writing all but one of the album's tracks and Roine Stolt writing none.

The album contains five tracks (plus a bonus track on some versions) with times ranging from 7:39 on Photosynthesis (the lone song not written by Tillison, but by Sam Baine) to the epic nine-part suite A Gap In The Night which is 18:22 and is all in one track (as it should be, IMHO). I loved every track on it, except the bonus track Exponenzgesetz, which I don't dislike, I just don't love it. I think it's a fantastic album overall. A live CD/DVD from this early era, recorded in 2004 with Tillison, Stolt. Reingold, Baine, and Csorz, was released in 2005 as Pyramids And Stars. When Roine Stolt bowed out of the project, it was assumed that The Tangent were finished; all except for Jonas Reingold, that is.

2006

Reingold encouraged Tillison to keep The Tangent going. Although he would remain in the Flower Kings for many years to come, he also remained in The Tangent. He recruited guitarist Krister Jonsson from the band he leads, Karmakanic. As Zoltan Csorz had returned to the Flower Kings with Roine Stolt as well, Reingold brought in ex-Flower Kings drummer Jaime Salazar (who ironically had been replaced by Zoltan Csorz in TFK). Manning, Baine, and Travis also remained on board. They created, what Tillison refers to as “the album where the Tangent became a band in its own right, not a side project of The Flower Kings or PO90”.

The album, called, A Place In The Queue (2006) is bookended by full epic suites. The opener is In Earnest which is just over 20 minutes in ten titled sections. The closer is even longer — the 25:19 title epic, which has eight titled sections. The five songs in between range in length from 2:16 on DIY Surgery to 10:07 on GPS Culture.

It is another wonderful album with everything a prog fan might desire! Excellent playing, expanded song-structures, and great songwriting. For me, it continues the sound of The Tangent, and develops it further; they were no longer in the large shadow of TFK. It seems that Tillison and Sam Baine had a falling out, however, not long after the album came out in 2006, while they were in Paris, leading to Baine's exit from The Tangent.

2008

By the time of the fourth Tangent album, Krister Jonsson departed to be replaced by guitarist Jakko Jakszyk, later of King Crimson. Jakszyk had already had a long and diverse career with the likes of Level 42, The Kinks, and 21st Century Schizoid Band among many others before signing on with Tillison and company. This line-up recorded a double CD album called Not As Good As The Book, which is over 90 minutes in length, released in 2008.

The first disc contains the seven-track song cycle A Crisis In Mid-Life, which accounts for just under 51 minutes of the album's length. The component pieces include A Crisis in Mid-Life, Lost in London (25 Years Later), The Ethernet, Celebrity Puree, (The Future Was) Not As Good As The Book, A Sale Of Two Souls, and Bat Out Of Basildon. I am picking up a VDGG feel to A Sale Of Two Souls.

The second disc contains two 20-minute-plus epics: Four Egos, One War in four segments, and The Full Gamut which has eight sections. One of the things I am truly enjoying as I dive into The Tangent's albums is how much rock is in their prog! These songs are complex and can be lengthy, but they rock hard in parts. Tillison considers A Place In The Queue and Not as Good as the Book along with the live DVD/CD Going Off On One, to be The Tangent's second phase as a band. There would be a significant change in the line up leading to phase three.

It seems that Andy Tillison had been living in France for some time, but after a “chaotic time” in his life, he returned to the UK. As such, he chose to re-vamp The Tangent's lineup with all UK members. Long-time member Guy Manning became an occasional contributor as he wanted to focus on his own projects such as Manning and later Damanek (whom I have written a Spotlight on for my blog in 2025. This period for the band is a bit of a revolving-door era, with many players coming and going, and some even doing both. When they released 2009's Down And Out In Paris And London, album #5, it was with the following lineup:

• Andy Tillison – vocals, keyboards, electric guitar, producer
• Guy Manning – acoustic guitar, vocals
• Theo Travis – saxophone, flute
• Jonathan Barrett – bass
• Paul Burgess – drums (from 10CC)

There is a guest solo from Jakko M Jakszyk on Perdu Dans Paris which I am actually enjoying as I type this. The real spotlight of this album, however, is the opening epic track Where Are They Now? which contains eight segments over its 19-minute run. There is also a call-back to the first album, with The Canterbury Sequence 2, giving us more of Tillison's take on that prog subgenre. Tillison himself handled the majority of the guitar parts on the album outside the contributions from Manning and Jakszyk. They seem to be finding more of their own identity as a band as they get deeper into their catalogue.

2010

The next release, a live-in-the-studio album, called Going Off On Two (released in 2010) would see the debut of guitarist Luke Machin's tenure with The Tangent (I reviewed his recent solo album Soulshine) on my blog). The album is evidence of the band's “revolving-door” in this era, as the lineup is:

• Andy Tillison – lead vocals, keyboards
• Jonathan Barret – bass
• Luke Machin – guitar, vocals
• Tony “Funkytoe” Latham – drums
• Theo Travis – saxophones, flute

The idea behind the album was inspired by the legendary BBC TV show The Old Grey Whistle Test which featured many classic prog bands performing live in the studio in the 1970s.

The next studio album is 2011's Comm. (Studio album #6, if you're keeping score.) The revolving door would turn again, as Nick Rickwood would replace “Funkytoe” on the kit. This album features bookend epics, each with six sections. The opener is the 20+ minute The Wiki Man, while the album closes with the 16-and-a-half-minute Titanic Calls Carpathia.

There are three (relatively) shorter tracks in between: The Mind's Eye (8:14), Shoot Them Down (6:45) and Tech Support Guy (5:51). Despite the ever-changing lineup, the quality of the music remains high. Tillison plays a fantastic synth solo on The Wiki Man. And... Holy crap! Luke Machin's guitar solo on The Mind's Eye is mind-blowing! The introduction section of Titanic Calls Carpathia (The Millpond) is completely cinematic.

2014

Up next for The Tangent is what Tillison calls a “one-off” lineup, but really, it's nothing short of a supergroup.

• David Longdon – vocals
• Andy Tillison – vocals, guitars, keyboards, bass, percussion, "all instruments" (4,6), co-producer
• Jakko Jakkszyk – lead guitar, vocals
• Theo Travis – saxophones, flutes
• Jonas Reingold – bass
• Gavin Harrison – drums

With: - Rikard Sjöblom – narration (1) - Geoff Banks – spoken voice - Jon "Twang" Patrick – spoken voice - Guy Manning – acoustic guitar (5, 8)

The album (we're at #7), released in 2014 by this amazing lineup is called Le Sacre Du Travail (with a subtitle of An Electric Sinfonia In 5 Movements). This might be considered to be Tillison's magnum opus. The proper album is the title suite in five movements:

Le sacre du travail (The Rite Of Work): 1. 1st Movement: Coming Up on the Hour (Overture) (5:55) 2. 2nd Movement: Morning Journey & Arrival (22:54) 3. 3rd Movement: Afternoon Malaise (19:20) 4. 4th Movement: A Voyage Through Rush Hour (3:07) 5. 5th Movement: Evening TV (12:06)

The suite totals 63:22. There are some bonus tracks available on some versions of the album as well, but for this article, I am only considering the suite. The theme is basically about what a day of work is like. Rikard Sjöblom (Beardfish, later also of Big Big Train) does a fantastic job of narrating the opening movement, which is dramatic and impeccably arranged.

I would be remiss if I didn't point out one of the greatest rhymes in the history of recorded music, when Tillison rhymed “bird shit” with “traverse it” in the following verse in the second movement:

It all just looks like bird shit!
Just look on Google Earth – the higher up you climb!
And each day we traverse it!
An hour from waking up we're driving thirty miles

There is also a Rush-related verse:

In the cubicle next door it's time to "meet the band"
In a Rush T-shirt, ponytail, "2112" tattooed on his hands
He's a star through thick and thin
But he still gets that data in
A modern day warrior, today's Tom Sawyer is a clerk

I would love to hear this suite staged with a full orchestra. Apparently, the orchestral instruments were done via computer software, according to the liner notes of the album, except, of course, those played by Theo Travis. The late great David Longdon would not be able to take part, but it would still be quite the event. I have truly enjoyed all five movements. There is another dazzling synth solo in the 5th movement as well. This is certainly one of the best Tangent albums, possibly even the finest one, but there are several more to go!

2015

As we reach 2015 in this long saga, we enter what Tillison considers to be the most recent phase of The Tangent, characterised by the lineup becoming more stable (excepting the drum throne). The eighth studio album A Spark In The Aether – The Music that Died Alone, Pt. 2 is another top-shelf album from The Tangent. With Reingold returning on the previous album, he decided to stay. That makes the lineup as follows:

• Andy Tillison – vocals, keyboards, co-producer
• Luke Machin – guitars, co-producer
• Theo Travis – saxophone, flute
• Jonas Reingold – bass
• Morgan Ågren – drums

As the title implies, this album is considered a return to their original mission of paying homage to classic 70s prog, with modern twists. The album is bookended with two parts of the title track. In between, Tillison and company return to their epic ways. Codpieces And Capes (A Love Story) is a direct tribute to 70s classic prog artists and styles over a run time of 12:34 across five sections. That is followed by Clearing The Attic where Tillison once again shows love to the Canterbury Scene.

Up next is an answer to Be Careful With That Axe, Eugene (Pink Floyd) called Aftereugene The album's centrepiece, however, is the 21:37 epic The Celluloid Road (An Imaginary Travellogue). In this wonderful track, we are taken on a virtual trip across the USA, but based solely on the knowledge based on an Englishman's perspective of American movies and television shows. It is quite humorous from my American point of view, making it one of my favourite tracks by The Tangent.

Also happening in 2015 was that Tillison suffered a heart attack. Fortunately, he seems to have made a full recovery.

2017

Album number nine is 2017's The Slow Rust Of Forgotten Machinery. On this one, Tillison handles the skins himself, and proves himself to be an adept drummer as well. An additional keyboardist named Marie-Eve de Gaultier appears on the album, presumably to assist Tillison as he was playing drums as well Otherwise, the core lineup remains the same.

Standout tracks on this opus include the nearly 12-minute instrumental Dr. Livingstone, I Presume, where Luke Machin shows himself as one of the finest lead guitarists in modern prog. I pick up influences from greats such as Allan Holdsworth and Steve Hackett. Slow Rust might abbreviate the title of the album, but it's really an expansive 22:31 epic. The Sad Story of Lead and Astatine clocks in at exactly 16 minutes.

The song seems a metaphor for a toxic legacy. Lead is a heavy, long-lasting, and toxic element, representing the industrial waste and pollution humanity creates that persists for centuries. Astatine is one of the rarest and most unstable elements on Earth, with a very short half-life. It represents the fleeting nature of life and perhaps the ephemeral, fragile beauty of nature that is destroyed by the lasting presence of lead.

The closing epic of the album proper (17:31), A Few Steps Down The Wrong Path is one that some find controversial due to the political nature of the song. However, it puts the (still) current political realities of the modern world into context when he reveals what country the song is actually referencing at the end of the song (spoilers I won't reveal here). Some versions of the album also include the bonus track Basildonxit.

Overall, this is another great set of prog epics with one foot in the past and the other in the current day.

2018

Proxy, the tenth studio album is the beginning of what is truly the most stable lineup of The Tangent's long and winding history. The same core lineup appears on this and the two following albums, only once augmented by others. The lineup is Tillison, Machin, Travis, Reingold, and drummer Steve Roberts (from Magenta). Guest on Proxy (2018) is Göran Edman of Karmakanic on backing vocals.

While there are certainly some longer tracks here, no track exceeds 16:10; making this the first Tangent album without a 20-minute (plus) track since 2009's Down And Out In Paris And London. Proxy (the title track) opens the album at 16:08, and continues with Tillison's politically based lyrical tirades (which, IMHO, he is usually spot-on in his commentary). That said, there is still some great prog playing here, particularly Tillison's synth solos. This opening track turns to a bit of fusion as it progresses.

The following instrumental track The Melting Andalusian Skies (8:51) goes even further down the fusion path, with great solos from all involved. A Case Of Misplaced Optimism (6:13) is downright funky. The Adulthood Lie is the other one over 16 minutes in length. To me, the message is based on the idea that once we hit a certain age, we are “grown-up” and know how to “behave as an adult should”, but that really we are always just making it up as we go along.

There are also two bonus tracks on some versions of the album Supper's Off and Excerpts from Exo-Oceans each around the 10-minute mark.

Around this time, there was an interesting live album released under the band name Tangekanic with the lineup from Proxy minus Theo Travis. As the lineup contains members of The Tangent and Jonas Reingold's Karmakanic, they performed songs from both bands' catalogues. The album is called Hotel Cantaffordit and released in 2018.

2019

Album number 11 is 2020's Auto Reconnaissance. This album features Tillison, Machin, Travis, Reingold, and Roberts without any credited additional musicians. The album begins with the relatively brief, high-energy Life On Hold (5:34). As the album came out in August of that fateful year, this song certainly refers to life during “lockdown” during the pandemic. The nearly 16-minute Jinxed In Jersey continues to show Tillison's affinity for jazzy Canterbury style prog styling. The song is an autobiographical account of an experience Tillison had in trying to make his way from somewhere in New Jersey to see the Statue of Liberty.

Two shorter tracks follow: the somewhat mellow Under Your Spell (5:51) and the upbeat The Tower Of Babel (4:36). But then, they make up for the lack of 20-minute songs on Proxy with the 28:16 Lie Back And Think Of England. The epic is the third part of the Earnest series, which apparently began back in 2006 with In Earnest from A Place In The Queue, and continued with Where Are They Now? from 2009's Down And Out In Paris And London. The character Earnest is a WWII fighter pilot fighting for England. The song is a wonderfully rich and rewarding prog epic that showcases not only Tillison's compositional skills, but also the band members' immense talent as musicians. The section that begins at around 19 minutes is simply glorious (as is the one at around 25 minutes)! Earnest's words close out this amazing piece:

Don't leave me nostalgic for the wrong things in my life
I don't want adventures among your grand designs of war
I'll take a clear morning with the wind in my hair
I beg you, in earnest, for nothing more Part XIII. Earnest asks us, one more time

Another relatively short piece The Midas Touch follows, with some hints of 70s R&B. Lie Back And Think Of England is certainly the album's flagship, however. Additionally, some editions have a 12:27 song called Proxima.

Also in 2020, the band released a live album called London Or Paris, Berlin Or Southend on Sea (An Official Live Bootleg). The album is a soundboard recording from a show in 2012.

2022

The next album from The Tangent is 2022's Songs from the Hard Shoulder which maintains the consistent line-up for a third straight album. On this one three of the four proper tracks exceed 17 minutes while the final one is less than 5 minutes long.

The opener The Changes (17:06) showcases some of their fusion influences once again, while singing about the end of the COVID lockdown. Luke Machin's closing solo particularly stands out on it. Next up is The GPS Vultures (17:01). This one leans into the fusion vibes even more, but what makes it really stand out is the fact that it's an instrumental.

The Lady Tied To The Lamp Post (20:51) seems to be the intentional centrepiece of the album. It's an exploration on homelessness, in which he villainises himself as the "red-haired hippie" who doesn't actually help her, but rather thinks of the "lyrics and music" he can get from the experience to put a light on the problems that homeless people experience, and the government's lack of action to assist. It is based on a real-life experience of meeting such a homeless person in Leeds, who literally tied herself to a lamp post with a bungee cord to keep from falling over, and all he had for her was a cigarette.

As if to provide a bit of relief from the serious subject of The Lady Tied To The Lamp Post, the album-proper closes with the 4:40 Motown-pastiche Wasted Soul with its upbeat, feel-good groove. The bonus track on this one is of interest to many proggers, as it is a cover of the UK classic In The Dead Of Night blended with one of Tillison's ambient-electronic pieces. Luke Machin has always shown a great influence from UK's guitar virtuoso Allan Holdsworth, and as such gets to shine on this terrific cover.

In 2023, a live album called Pyramids and Stars & Other Stories: The Tangent Live Recordings 2004-2017 was released. It contains the whole of the first Pyramids and Stars album from 2004, as well as bits of other previously released live albums from the band.

2024

As of the time of this writing in the Spring of 2026, the most recent album from The Tangent is 2024's To Follow Polaris, but there's a twist. Really it's an Andy Tillison solo album, on which he literally plays everything. Apparently, this is some he's wanted to do for some time, so he seized the opportunity. The album is actually released as The Tangent For One.

The album came about in the “run-up” to the release of Songs From The Hard Shoulder — the period between completion of recording to the actual release of the album. It seems that Tillison was bursting with ideas for a new album, yet most of his bandmates were on tour or recording with other acts at the time. So he and the band members amicably agreed to allow Tillison to do this one alone and that they would indeed return for the next one.

Tillison already recorded the drums on 2017's The Rust Of Forgotten Machinery, and while primarily known for his keyboard abilities, has been known to play guitar, as he did on 2009's Down And Out In Paris And London. Tillison states that he often records Tangent demos in that manner, but it's with the anticipation of what others will add to his parts.

The album begins with the 11:08 The North Sky which has a brief harmonised a cappella vocal introduction. For the drums, he chose to use an electronic kit, so there's a drum-fill with that kind of sound right afterward. The song is a highly energetic, quick-tempoed affair. All the meter changes etc. that one might expect from a Tangent album are there, and Tillison shows off his lead guitar abilities pretty early on the track. The song really has a strong Yes-like flavour to my ears. It's a tasty slice of prog!

Other tracks include A Like In The Darkness (8:19), The Fine Line (8:04) and The Single (From A Re-Opened Time Capsule) (5:52). I believe that The Single is a re-working of the PO90 track mentioned near the beginning of this article. Of course, it wouldn't be a Tangent album without an epic, which comes in the form of The Anachronism (21:02 — he should have added 10 seconds somewhere... LOL).

There is simply some fantastic playing on this track from Tillison, with some tight-complex rhythms, followed by a smooth quieter part, then an almost metal segment, and so on. Andy T moves through these drastically different sections effortlessly. He really seems to have the vision for each track fully realised before recording even begins. While the album is quite enjoyable, and illuminates just how multi-talented Tillison is, I can't help but wonder how it would have sounded with the full line-up of the three previous albums.

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The band's website is a wealth of information about the band, and one of my primary (but not only) sources for this article. According to that website, the band has been working as a unit since sometime in 2025 on a new album, tentatively titled Was — A Nostalgia By The Tangent. However, Jonas Reingold has left the band over “musical differences” and is being replaced by prog veteran John Jowitt (IQ, Arena, Frost*, Jadis, and Uriah Heep). Another new member was added in keyboardist Rob Groucutt, bringing The Tangent back up to a 7-piece with two keyboardists.

The new lineup has already made its live debut at The Fusion Festival in Stourport, UK. Additionally, the band requested their longtime label Inside Out to allow them to independently release this new album, to which they agreed. It seems that the new album will be on White Knight Records. There is no target date for the release, but DPRP and/or myself will certainly review it when it does appear! There is already a T-Shirt being sold for the album on the band's webpage, which is a twist on the classic Pink Floyd Dark Side of the Moon cover.

If you stuck with me to the end of this long and complex band history, I truly thank you! As I have investigated the career of The Tangent, I have noticed that many listeners are not a fan of Tillison's voice, which is certainly their prerogative. However, as many others have pointed out, Tillison is really the only one who could truly do his oftentimes highly personal songs justice. I think his voice is perfectly fine, if not spectacular. It works and gets the job done! The instrumentalists who have been members of the Tangent at one point or another are all highly respected, and in some cases, legendary. I have truly enjoyed my deep dive into The Tangent's catalogue, and I hope you have enjoyed reading about it!

Prog On!
Scott