Precedence: bulk
Subject: Chalkhills Digest #384

              Chalkhills Digest, Number 384

                 Monday, 10 October 1994

Today's Topics:
               Ultradisc of ES, not Skylrk
              Re: Racism and also Re: Crimso
          RE: No Thugs In Our House / Faves etc.
                Re: No Thugs in Our House
                    Why Down on Bl**?
                Re: Mobile Fidelity Disks
                Re: Chalkhills Digest #383
        Sam Phillips/Colin Moulding collaboration
                 Let me introduce myself
                       Re: Alice CD
                    The Pretty Things!
                Reply and Clarify "Thugs"
                        Disco info
                 leave Watchtower alone!
                     Pronouncing XTC
               Newell TGLE Limited Edition
                    'XTC-style quirks'


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So we're working every hour that God made


Date: Mon, 3 Oct 1994 20:21:00 -0400
From: "Paul Myers" <>
Subject: (none)

I'd like to know a little more about this Stephen Duffy / Velvet Crush
thing.  It would appear that Mr Duffy, who I'm sure is one smart pop
guy has recognized that the Yanks do BritPop with the extra edge,
witness Matthew Sweet's fabulous Girlfriend record.  Of course that M
Sweet, Mitch Easter axis is oh so hip, but what the hey.  You only
live once and this power pop thing is the real deal (not to be
confused with the only mildly interesting Grunge it dead
yet?)  PS Nirvana, I believe, were always more in the Big Star,
Replacements mold (Mould?) than all those Black Sabbath sucking
Seattlites.  If only Kurt could have kept it together we may have
heard one hell of a poprock sound.IMHO.  Love to all and sorry for
straying from Swindon....better luck next time.


Date: Mon, 3 Oct 1994 22:50:11 -0400 (EDT)
From: Brandon K Snavely <>
Subject: Ultradisc of ES, not Skylrk

   If Mobile Fidelity wants to re-master an XTC album and press it onto a
gold Ultradisc, then I say they should do English Settlement rather than
Skylarking.  ES is in GREAT need of remastering; the Geffen USA release
is full of hiss and the recording level is low.  You can especially hear
this on Waxworks, as the recording quality decreases and the hiss
increases from "Sgt. Rock" to "Senses WO".  The Geffen USA pressing of
Skylarking is mastered fine, as far as I can tell.  English Settlement is
the album that really needs remastering.

Pittsburgh, Pa.


Date: Tue, 4 Oct 1994 16:15:35 +1300
From: (James Dignan)
Subject: Re: Racism and also Re: Crimso

 From John Relph, Jim McGowan
>>Eh? I always interpreted that song as a lament for the westernization of
>>Chinese culture: "I hear you asking for Western thinking, I say it's poison
>>that you'll be drinking."
>Exactly.  Much akin to Ursula LeGuin's science fiction novel, the
>title of which escapes my mind, perhaps it's _The Disposessed_, which
>was actually written about the introduction of Coca-Cola to China.

Hmm. Must have another listen. Seems like I misinterpreted something
somewhere :-I

Oh, and to Curtiss Hammock:

I am on a King Crimson Bulletin Board (Elephant Talk). They are one of the
many groups I really like, although I have to be in the right frame of mind
for them. Same with Yes and Tangerine Dream. You are not alone!


James Dignan, Department of Psychology, University of Otago.

Ya jivu v' 50 Norfolk St., St. Clair, Dunedin, New Zealand
steam megaphone NZ 03-455-7807

   * You talk to me as if from a distance
   * and I reply with impressions chosen from another time, time, time,
   * from another time                     (Brian Eno)


From: Paul Vincent <>
Subject: RE: No Thugs In Our House / Faves etc.
Date: Tue, 04 Oct 94 08:50:00 BST

On the subject of "No Thugs In Our House", mark derby wrote:
>        How I interpret this song:  a black comedy about an extremely
>dysfunctional, working-class British family.  Most of the lyrics are from
>the point-of-view of the parents:  blissfully ignorant of the fact that one
>of their sons is a neo-Nazi.  (Though Andy inserts his commentary here and
>there:  "Her little tune is such a happy song...")
>        I don't think it reflected any kind of negative attitude toward
>XTC's audience (am I misreading your point?).  It could be taken as a swipe
>at the lower classes...but I don't think it's intended as such a general
>statement.  It's only a story.  (Anyhow, Sir Patridge's background wasn't
>exactly upper-class.)

Well, I reckon you've got the wrong end of the stick there, Mark, at least
as far as "class" goes. Listen again to the last verse, where we learn that
little Graham will get off lightly when/if his assault case comes to

"Cos Dad's a judge who knows exactly what the job of judging's all about."

...and, let's face it, being a Courtroom Judge is not *exactly* a typical
working-class occupation, is it? No, I think the song has more similarities
with David Lynch's "Blue Velvet" film, in that it nicely sends up the
middle-class preoccupations of keeping up surface appearances, and
pretending that everything's *nice* while the ugliness and violence of
the outside world creeps ever closer to their cosy front door. Or in this
case, has already infiltrated their snug domain in the shape of little
Graham, their wayward National Front-supporting son. I agree that it's
ultimately a very chilling song, despite the gallows humour of its approach.

Whilst I'm here, I'll toss my cloth cap into the arena for the Great faves /

lemons debate...

ALL-TIME FAVE: No Thugs In Our House at this very moment - probably
because I've just been talking about it, so it's sunk its hooks into my
brain again. It'll be something else tomorrow. The whole thing's just so
perfectly constructed, and yet drives relentlessly along like a thing
possessed. Great lyrics, too - wonderful British social satire.

EVANGELISTIC BEST BET: Sorry to be boringly conformist, but yes,
it has to be Senses Working Overtime, if only because so many people
who are indifferent or even hostile to most XTC, still like this one. Once
people are hooked on one song, it's easier to get them to open their ears.
Not that I really CARE whether Joe Public shares my XTC enthusiasm,
but mass acclaim might persuade the buggers to be a bit more
forthcoming with new material. (Selfish, eh?).

LEMON-FLAVOURED TURKEY: Bungalow from Nonsuch. An appaling
*song*. I'm open to anyone who'd care to explain why this is a good
song, but I can see no merit there myself. That's not bad, though - one
stinker out of so many albums, so many songs.

Paul Vincent
University of Central England


Date: Tue, 4 Oct 1994 09:35:39 +0100
From: Simon Wilson <>
Subject: Re: No Thugs in Our House

I agree with much of what Mark Derby writes about No Thugs except:

>How I interpret this song:  a black comedy about an extremely
>dysfunctional, working-class British family.

The family portrayed are a stereotype of a complacent MIDDLE class family,
hence the line "Cause Dad's a judge...". I think the lazy attitude of shutting
oneself off to racism is what Andy Partridge is trying to satirise.

BTW I've got the 7 inch single of this song - as with a lot of XTC's singles,
its a great package. The sleeve is set up like a stage and there is an insert
with cut-out figures of the four characters so you can act out the song.

My other fave 7 inch single package - that on "This World Over", with a set of
postcards attached to the front, all depicting a "sea of rubble", and saying
"Greetings form London", "Greetings from New York", etc.

Any other faves?

My survey contribution:
        Fave: most of Skylarking, but especially Summer's Couldron / Grass
              and Another Satellite.

        Recommendation: SWO or Mayor of Simpleton

        Lemon: I don't much like Bungalow or Rook, also some of the early
               stuff is hard to listen to, but I find All Along the
               Watchtower funny.  However, just to be controversial, I
               always switch off Black Sea before Travels in Nihilon gets
               going. it's just never grabbed me, I'm afraid.


Date: 4 Oct 1994 08:43:39 U
From: "Wesley Wilson" <>
Subject: Why Down on Bl**?

I know s*me peo*le are sick of B**r, but g**d G*d almighty, man, g*ve them a
ch*nce! An*y must have thought well of t*em to work with them for a while,
even though they dumped h*m eventually. So get out t*at old Victrola, turn it
up to earwax-loosening level, po*r yourself a lager, and put on any of th*ir

Try "Mod*rn Life is Rub*ish." Some excel*ent hooks, lines, and no stink*rs.
They have a good pop sens*bility; check out such e**ervescent Britishisms as
"Colin Zeal" and "Starshaped." I hear K*nks in this, too.

Like XTC, a band that's proud its Bri*ish roots! Why, I'm getting mildly
excited just th*nking about it all...som*body get the bul*dog and put its
te*th back in!

Hey, is that Pretty Things album really psychedelic? Bowie covered "Sorrow"
on Pin-Ups; his version didn't strike me as psychedelic. For psychedelic
stuff, check out the 3-disc series on See-For-Miles, "The Great British
Psychedelic Trip."

Respectable Mr. Wilson


From: Mark Colan <>
Date:  4 Oct 94 10:57:48 ES
Subject: Re: Mobile Fidelity Disks

> From: Greg Langmead <>

>        My opinion: These discs are wonderful, and they really do sound
> different.  The whole disc invariably sounds much cleaner, much more
> real, all the things that CD's should be.

I just discovered that you can improve the sound of ANY CD by simply using
a green magic marker to color the edges of the disk!  It's really remarkable
how much more vivid it sounds.  A friend of mine who discovered it recently
has the theory that it prevents the laser beams (which are red) from bouncing
around at the edges.

Oddly, the GOLD disks from Mobile Fidelity are improved by use of a RED
marker, not a GREEN one.  We're still scratching our head on this one.


ps: yes, I'm only kidding  ;-)


Date: Tue, 4 Oct 1994 11:02:31 -0500 (CDT)
From: Dave Bales <>
Subject: Re: Chalkhills Digest #383

If this was posted and I missed it, sorry, but:
If Mann is still on tour, can someone *please* post the itinerary?
Dave in KCMO


Date: Tue, 4 Oct 1994 10:04:03 -0700 (PDT)
From: Jay Nelson <>
Subject: Sam Phillips/Colin Moulding collaboration

I saw Sam Phillips at a Vancouver club last night - captivating and
brilliant as usual, but then she can do no wrong in my opinion!  T-Bone
Burnett played rhythm guitar on most of the songs.  A drummer/percussionist
filled out the band on about 3/4 of the songs.

She had this to say in the _Vancouver Sun_ newspaper about having Colin
Moulding play on her latest album:

"I was so happy Colin wanted to play because I love his bass playing.
None of us knew him, we just sent him a tape of the songs and phoned
him up.  I was thrilled.  I think XTC are just brilliant but they've
never had much recognition."

I noticed in an ad for their upcoming show here that the Barenaked
Ladies are on-line at  Not likely any reference to the
band XTC - the Ladies main influences are the Beatles and Rush I
believe (yes, Rush - not very apparent in the music).


Jay N.


From: DOCESM <>
Subject: <None>
Date: Tue, 04 Oct 94 13:15

Curtiss Hammock wrote:
>Anyone else dig something other than "new wave?"

Yeah. Rush used to be in my top ten, but they're still somewhere in the
top15 or 20. Phil Collins/Genesis are my favourite, followed closely by
U2. I also LOVE the Beatles, the Doors, and of course, "new wave" stuff,
including XTC, Toad the Wet Sprocket, the grunge stuff, etc.

Just my .02.
Ed in NJ 8)


Date: Tue, 04 Oct 94 16:32:35
Subject: Let me introduce myself

     I've been an XTC fan for many years. I was a minor radio celebrity in
     the Pittsburgh, PA USA area from 1980 to 1986. We had XTC signed for a
     show in the 1982 time frame... well, you know the outcome.

     I still have the concert poster!

     I discovered Chalkhills from my old pal, Joe Hartley (
     who forwarded a Chalkhillian message to me. I thought to myself, "What
     a worthwhile subject matter." Well, now you're up to date.


Date: Tue, 4 Oct 94 15:03:10 PDT
From: John Relph <>
Subject: Re: Alice CD (Ashley Powell) writes:
>Stop me if this old hat, but it's news to me.  I came across a CD this
>weekend from 1989 by an  Italian  singer  called  Alice.

Here's the discography entry:

Alice: Il Sole Nella Pioggia
       Dave Gregory contributes guitars on Il Sole Nella Pioggia;
       Visioni; Ebow guitar on Anin a Gris; and 12 string and Ebow
       solo guitar on L'era del Mito.
       + CD, EMI Italy, 090 7925202, 1989. [DDD].
       + CD, EMI Finland (Electrola), CDP 564-7 92520 2, 1989.

>At any rate it  does  show  that  Dave  Gregory can handle atmospheric
>playing as well as anyone, and his ebow solo in "l'Era del Mito" shows
>that it's not only Fripp who  knows  how  to play the instrument well.

Actually, Fripp doesn't use the E-bow.  Mr Fripp has his own guitar
electronics setup (which he calls "Frippertronics") which emulates the
sound of an E-bow.  The E-bow itself is a magnetic resonance device
that physically moves the guitar strings.  It is used instead of a
plectrum (pick) or the fingers.  Mr Fripp always uses a plectrum.

>The album is very well produced, and  although one or two of the songs
>are a bit average the album as a whole is very good.

Agreed!  This album is actually very good and gets played around my
house fairly frequently.  It makes good atmosphere or ambience,
especially since I don't understand Italian.


From: "Bill Moxim" <>
Date:          Tue, 4 Oct 1994 17:02:49 -600
Subject:       The Pretty Things!

>>Jon Flynn asks:
>>Anyone have any other recommendations for 60's gems worth chasing up by an
>>XTC/Dukes of Stratosphear fan?
>One of my favorite 60 psychedelic lps is "S. F Sorrow" by the Pretty Things.
> Anyone who loves the Dukes would love this lp (available on CD in England).

ABSO-damn-LUTELY!  *Why* that never crossed my mind is beyond me.  I first
heard S.F. Sorrow back in '82 and just fell in love with it!  It's really
fantastic through headphones, the stereo effects are great!  Which brings
up something else, slightly...  For 11 years I had a beat up white-label
promo copy and grew to know every sound, scratch, effect, word, pan on
the album.  Really grew fond of it!  At a record show a year or so ago I
happened upon a beautiful mint copy (not promo), original sleeve.  It was
really a thrilling experience to hear the disc without a single pop or
click!  Especially since 'Baron Saturday' had a little skip in it on my promo,
which I still hear (in my head) everytime I listen to it.

Now - there *is* a CD of this album in the U.K. on the Edsel label.
Apparently the sleeve uses the original UK artwork (as opposed to the
tombstone-shaped sleeve in the States).  There is no question that the
transfer is very clean - BUT - and I emphasize that - BUT - they ever so
slightly remixed some tracks!!  When I got it I immediately popped it in
and threw on the headphones and just KNEW something was out of kilter...
Some vocal pans were gone, well... lets just say they messed around with
some of the stereo imaging of which I was so fond of!  The most blatant
difference is in 'Baron Saturday' after the instrumental bridge in the
middle they come in singing '...your life is cool good senses rule..'
followed by a single snare bit (tap tap tap tap tap tap tap) '...your life
away...'.  Well, during the snare bit on the original, the right channel
drops out for a brief moment, then again after the second vocal.  Sounds
like a bad engineering goof - but it's what I had listened to and memorized
for 11 years!  I was very disappointed.  I -HATE- remixes!  Perhaps the
original UK release had the corrected right channel (which by the way you can
hear a definate noise level increase where the dropout was), I don't know,
never seen or heard it.  Also never heard the American reissue either.
Anyway, that's why I treasure that mint Lp I found.

Anyway - SORRY for going on so long about non-XTC stuff, but hey - Tim here
is the first person I've ever met (well, uh, seen in print) that even knows
this album after all these years.  And few realize that The Who did NOT
release the 'first rock opera', the Pretty Things did.  S.F. Sorrow was the
first 'concept' album and preceeded Tommy by about two or so months in the
UK.  It was released -after- Tommy in the States, however.  Pete Townshend
has also commented on listening to and enjoying the work during the process
of releasing Tommy.  This was said in an interview released in promo copies
of 'Who Came First', Towshend's first solo in '71.

Whoa!  50+ lines non-XTC!  My apologies.  It does, however, reflect upon
my COMPLETE admiration of the Dukes material!  I've loved it ever since I
first heard "Have You Seen Jackie?" on the radio and said "Who the hell is
that?!?".  It was a couple months before I was exposed to it again, and
was told it was really XTC.  What??!  This is great!  That was it.  I found
cassette copies and listened to them over and over, then came 'Chips...'
on CD!  But you lose the original artwork... :(  So I've finally found mint
copies of the original Lp's and I'm a happy boy.

Whew... thank you and goodnight.



Date: Wed, 5 Oct 1994 11:56:54 -0700
From: (Larry Cummings)
Subject: Reply and Clarify "Thugs"

>From: (Mark Derby)
>Subject: "No Thugs in Our House"

>        I don't think it reflected any kind of negative attitude toward
>XTC's audience (am I misreading your point?).  It could be taken as a swipe
>at the lower classes...but I don't think it's intended as such a general
>statement.  It's only a story.  (Anyhow, Sir Patridge's background wasn't
>exactly upper-class.)

        Sorry my original point was a bit vague. I was trying to be brief
but I would love to clarify what I meant by

> For me they were the first band that really pulled off the
>"I am smarter than the people that are keeping me down but I don't
>care enough about them to fight them on their ground." motif with
>such accurate intent.

was not that Andy was taking a swipe at any "class" but merely pointing out
how easy it is for a child to be rebellious/destructive without any
supervision. If it's a swipe at anyone it's a swipe at irresponsible
parents. How this related to the band's relationship with their audience
was they were saying "we see you" to the character in the song. As I
re-read my posting I realized it could have been miscontstrued as a
statement of empathy for the character in the song. This is not the case. I
believe that the song was directed at people who saw the problems in
soceity and felt as frustrated and helpless as the ARRRGH between the
chorus and the bridge. That's why I think it speaks so well to XTC's core
audience. It takes a pretty sophisticated listener to pick up on all the
details in this song. The dramatic differences in the bridge and the
chorus, the inscessant pounding of the snare at the end and the frustrated
Partridge all brought to bear on a >black comedy (well said) that for me
really set this band apart from any other. The power of the lyrics in this
song are amazing but even so the music is perfectly balanced with them.
That's why it's my favorite song by them, all those pieces brought to such
a subtle point so accurately and quickly was refreshing and only improved
with closer inspection.
        Sorry for being so vague and thanks for the reply. I suddenly don't
feel a geek for pouring over the lyrics so much. Perhaps next time I should
be as careful with my postings. :)
        You mentioned Sir Partridge's class background and I suddenly
realized this is one of the few bands I love that I have very little
background information on. Anyone out there feel like posting some breif
history on the boys before they became the subject of our adjulation?

                                                Appropriate adverb,

  The whole idea behind pratical politics is to keep the populace
  alarmed (and hence clamorous to be led to safety) by menacing
  it with an endless series of hobgoblins, all of them imaginary.
                                                -H. L. Mencken


Date: Thu, 6 Oct 1994 11:07:59 -0600
From: (Tom Keekley)
Subject: Disco info

John (and others):

Is it listed in the discography that Andy played harmonica on 'Europa and
tha Pirate Twins' on Thomas Dolby's "Golden age of Wireless'? I also have
two songs on an import compilation that Andy produced (I know I've
mentioned this before.)

For those of you who think that Dolby's music begins and ends with 'She
Blinded Me With Science', I urge you to purchase any one of his four albums
* The Golden Age of Wireless    * The Flat Earth
* Alien's Ate My Buick!         * Astronauts and Heretics

Even at import price they are WORTH it. Dolby is a master. (Andy doesn't
waste his time with losers!)


Subject: hello!
Date: 06 Oct 94 13:59:48 EDT

     Hi, my name is Jack Lockhart and (obviously) I'm a HUGE XTC fan.  I
was introduced to XTC a few years ago by a freiend and my love for the
group grew in much the way a cancer does.  Can't wait to find out what you
have to say about them (since I'm sure many of you know more about them
than I do)...

See Ya


Date: Tue, 04 Oct 1994 20:45:00 -0400 (EDT)
Subject: leave Watchtower alone!

Am I the only one who will come to the defense of "All Along the
Watchtower"?  I can see why it's generally unpopular: doesn't jive with
the kind of material XTC's been putting out more or less since 1979,
it's too dark, too amelodic, too *weird*.  But it's such an amazing
visceral thrill: it has such a strong feeling of an epic, or even
better, a radical revision of an epic.  After all, covering a Bob Dylan
song and making it sound like a product of schizoid robots in the year
2009 is a very "new wave" thing to do.

I find it one of the most satisfying songs on _White Music_, which is
a pretty even mix of decent early attempts at songwriting ("Radios in
Motion", "Statue of Liberty") and noisy musical idiocy ("Cross Wires",
"Do What You Do" ... hell, just about everything Colin wrote).  This
is certainly not a harbinger of things to come, but it's a hell of an
interesting musical detour.

- evan.


Subject: Pronouncing XTC
Date: Fri, 7 Oct 94 8:08:35 EDT
From: Shinn Michelle <>

Hi folks!
  In Chalkhills Digest #383, Markus De Shon ( writes
about the pronounciation of XTC being "ex-tee-cee".  I'd like to add my anec-
dotal information confirming this pronounciation.  In the Philadelphia area,
radio station WDRE-FM (103.9MHz) often plays a sound bite of an artist an-
nouncing the station (and DJ) before their song is played.  About a week ago,
I was amazed to hear "This is Colin Moulding of the pop group X-T-C on radio
station WDRE."  They went on to play "Generals and Majors".
  Seems pretty definite! (Sorry if this is in the FAQ somewhere...)
Just a note about demographics, I'm a 38 year old female, and XTC was very
peripheral to me until I heard "Dear God" and bought _Skylarking_.  The rest
is history...

Michelle Shinn


Date: Sun, 09 Oct 1994 02:26:34 GMT
From: (Ashley Powell)
Subject: Newell TGLE Limited Edition

Last week I managed to find a copy of The Greatest Living Englishman
by Martin Newell.  It's hardly been out of my CD player - until today.
It's not often I buy an album twice, but I came across another copy -
a "Very Limited Edition" - in a second hand record shop. It  includes
a "bonus live poetry CD", which is a recording of Martin reading his

This is perhaps not of great interest to lovers of XTC music, but if
you like the humour inherent in both Partridge and Newell songs then
it may well appeal.  I don't know how easy/difficult it is to come by
but if you see it, buy it.  The only problem which you lot across the
water might encounter is that Newell makes references to things which
are uniquely British, and are therefore only funny if you are familiar
with the origin of the reference.  As a rough guide, if you know the
origin of 4, 15, 17, and 18 below then you'll probably get along okay.
If not. then (a) you probably don't live in Britain and (b) a lot of
what Martin is taking about will go over your head.

The info on the CD is as follows:

                            Martin Newell
                       "Live at the Greyhound"
                           Limited Edition

                        Unsuitable for Minors


Recorded live at The Greyhound, Wivenhoe on Dec. 11th 1992 and July
8th 1993 by Nick the Dogg.  Thanks to Mrs. Jan Foreman, "the landlady
time forgot'

1.  Intro.
2.  Orgasm Ray Gun.
3.  I Hank Marvinned.
4.  Lloyd Grossman Hits The Skids.
5.  The Golden Eagle.
6.  The Lawn's Pear.
7.  This Is What I'd Like.
8.  Will You Still Love Me.
9.  What Did Your Last Servant Die Of.
10. Catsick.
11. Heroin in Whiskas.
12. A Sink Called Ron.
13. This is What She's Like.
14. Journey To The Bottom Of Your Handbag.
15. The Bastard Son Of J.R. Hartley.
16. A Quick Slash.
17. Mr. Kiplings House Rap.
18. Bruce Forsyth Calls It Off.
19. The Railway Children.
20. Government Guitar Warning.

The Newell debate had already started when I subscribed to Chalkhills
so you may already know all this.  With any luck John Relph will clip
this posting accordingly if this is the case.

On the subject of rare and obscure releases, is there a list anywhere
which catalogues such items?  I know discographies are available but
these usually just cover official group releases, solo material, and
collaborations.  I doubt any would cover any Newell stuff, or the
Alice CD I mentioned in a previous posting, where the XTC member  is
not given equal billing to the main artist of a project.  If not, then
perhaps someone with a lot more time and patience than me could take
it upon themselves.

Also. I feel that a much more worthwhile project than the recent "my
favourite XTC song" lists would be a "missing from my collection"
list.  Having been really pissed off at not buying the "Wrapped in
Grey" single, foresight not being one of my better talents, I'm sure
there are people out there who are equally pissed off that they
haven't got some other rarity of which they are aware.  This could be
mutually beneficial to readers of Chalkhills as we would know that
there was demand for certain articles and how much people would be
prepared to pay.  For example, if I see another copy of the Newell
limited edition CD for, say, #20 Sterling (mine cost #10), then I'm
not going to buy it because I've no idea if there would be a buyer,
and I have no need for two.  On the other hand, if I know there are
lots of people who want one, especially in the US where it probably
wasn't even released, then if I see it then I know there's a good home
waiting for it.  Obviously there are two points to be made here:

1) As we are all kindred spirits, musically speaking, we ought to try
not to make massive profits and just charge the person who wants a
copy cost price + postage and packing.

(2) If it is a popular idea then a separate mailing list should be set
up of wants and swaps.  Just because I don't mind sending stuff to
someone doesn't mean that I do requests - there's no way I want to log
on tomorrow and find 300 whopping lists waiting on my mail queue and
costing me a fortune to download.  All I'll do is send back a standard
response telling them all to piss off.

I, for one, would be interested in getting hold of some of the US
radio recordings I've seen mentioned.  I have been to record fairs
where copies of the "Kings for a Day" CD of US radio recordings cost
only #8 Sterling. I'd have bought them all if I knew I could pass them
Ashley Powell


Date: Sun, 9 Oct 1994 21:32:55 -0700
From: (Bob Gonsalves)
Subject: 'XTC-style quirks'

Spotted in the New Yorker 2 issues ago, in the Night Life section:
  'Fertile Crescent's front man, Erik Sanko, has worked with such
desperados as John Lurie, Gavin Friday, and John Waite, but his own raunchy
material is full of XTC-style quirks and Beatles-happy hooks.' [comes with
high recommendations from their editor]


End of Chalkhills Digest #384

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